Underpaintings for a Plein Air Iris

'Joy in the Garden'             5x7         pastel            ©Karen Margulis

I remember this day clearly. I was painting at the Smith Gilbert Gardens in Kennesaw Georgia. I had set up near the perennial bed and didn't feel like moving my gear around all day so I sat in a chair and did many studies of the flowers right in front of me.  It was one of those days that I didn't feel rushed or pressured in any way so I took my time with my paintings.
I decided to work on my watercolor underpaintings. I usually would rush through them anxious to get to the pastels. This time I took it very slow. I would let layers dry and build them up. I ended up with watercolor underpaintings that were much more cohesive and vibrant. I actually ended up adding very little pastel to some of them including this Iris.   I really have to remember this day and how in this case slow and steady worked well.

Have you tried watercolor with pastel? It is a wonderful combination and you can read more about watercolor underpaintings in my post here.

Mixing Oils with Pastels...A Great Combination!

'Splendor in the Meadow'    11x14         pastel        ©Karen Margulis

I don't like wasting paint.  Yesterday I had just a little bit of oil paint left on my palette. It was hardly enough to save yet too much to throw away. I could have covered it or put in in the freezer as was suggested to me... but I knew I would be out of town and wouldn't be using it for awhile.  It was however the perfect amount of paint to use for an underpainting for a pastel!

oil stain underpainting on Uart pastel paper

I love the effects I can get with a drippy oil paint. If you get the consistency just right your paint will drip and form interesting patterns or spiderwebs. I just mix turpenoid with the paint until it is the consistency of tea. If it is too thick the paint will clog the tooth of the paper and you won;t get much pastel over it. Ideally you want to have a nice transparent underpainting. I don't ever use white because it will make the paint too opaque.

I choose my colors based on what I want to express in the painting. Sometimes I will go with complementary colors. Sometimes I'll set up for atmospheric perspective, sometimes it is a value underpainting.  I just go with what I think will best support my goals for the painting. For this underpainting I put in my dark values and then some oranges as a complement to the greens that will come.

In the finished painting you can see some of the underpainting peeking through. I really don't have a lot of thick pastel layers. Most of the work was done with the underpainting. I did ad some magic pastel dust for my finishing touches!

As you can see oil paint makes a great underpainting for pastels. Even if you don't do oils it is worth having a few tubes just for doing these underpaintings. You do need to use a paper that will take a turpenoid/wet wash. I used Uart which is my favorite.  Read more about underpainting in my post here.

I am headed to Chicago for the weekend so I have prepared some posts sharing some work I have not yet posted. I hope you will enjoy and I'll be back to regular posting next week. Be sure to sign up on the sidebar so you don't miss a post!

Get in the Zone with Aerial Perspective

'Lupine Magic'           8x10         pastel    ©Karen Margulis
available for purchase $95

It is really like magic! When I finally figured out how to use the principles of aerial or atmospheric perspective, it made all the difference in my paintings.  For the longest time I knew what aerial perspective was. I read John Carlson's book on painting the landscape. I could tell you what it was. But I didn't always use it well.  I found there are two keys that helped me the most:

1. We often have to exaggerate the effects of aerial perspective. Aerial perspective deals with  way things appear to change as they go back into space....they tend to get lighter, cooler, duller, less detailed, less contrast. We don't always notice thhese changes and often they are subtle. Especially if we are working from photos in which everything is crisp and clear with no color shifts. So when I realized that I would have to push or exaggerate these  effects I was able to create more space/distance in my landscapes.
2. Remember to change your pastel stick as you go into the distance.  What I mean by this is to be sure that you don't use the exact same stick of pastel in the foreground and the background if you are trying to get atmospheric perspective. For example if you are painting a green field the green you use in the foreground needs to change as you go into the distance...it will be cooler and lighter in the distance. If you use the exact same pastel stick of green all over the field it will look flat.

Zones help me remember the effects of aerial perspective

 So how do I remember to make the changes due to the effects of aerial perspective?  I divide my scene into four zones: foreground, middle ground, background and sky/ground transition zone.  I then know that in each zone I will need to make changes to the color temperatures,values,detail level, color intensity.  I just need to be sure that my transitions between the zones are blended. I don't want an aerial perspective parfait!
**remember that the effects of aerial perspective occur most of the time...there are always exceptions that you will have to deal with **
To read more about aerial perspective you might like my recent post. Read HERE

A Great Idea for Plein Air Shade

'Passing Clouds'        6x8         plein air oil on panel        ©Karen Margulis
available with paypal  $125

 I love the thrift store!  Rummaging around second hand stores has saved me a lot of money when it comes to art supplies. I am always looking for things I can use in the studio and I have found some great things. See my previous posts HERE. Recently I have been on a hunt for some items for my plein air set-up that I saw on a Kim Casebeer's blog. Kim is a wonderful painter and has a great post on her blog about traveling with your plein air supplies. She has great photos of her set-up and some things I haven't come across. Yesterday I scored and found one of them at the thrift store for 50 cents!    See what I found:

Kim uses a sun visor to shade her pochade box and painting instead of using an umbrella.  The sun visors are used to put up in your windshield when you park your car. The are lightweight and fold up into a small easily packable circle. Kim uses clamps to attach the visor to her easel. I used bulldog clips to try it out but I will be looking for some stronger alligator type clips. The visor looks like it would be a great way to get shade on your painting and palette especially in windy conditions when and umbrella won't work. It would also be a great thing to take along when you want to travel light and don't want to carry your regular umbrella.

I was thrilled when I found this pack of two shades for 50 cents. I can't wait to get outside and give it a try. Now I am on a hunt for a real Tupperware container that is just the right size for my turpenoid can. (I know I can just go to the regular store for these things but that wouldn't be as fun or as satisfying!) See Kim's complete blog post HERE

Do you have any unique items you take with you on your painting adventures? I'd love to share your ideas!

Why Detours are Good for Your Art

'Desert Pink 3'          4x4"           oil on panel           ©Karen Margulis
sold

I took a detour today and I don't feel guilty about it.  I went into the studio with all the good intentions of a productive day working on my commissions and catching up on paperwork.  I was quickly side-tracked.  A little acrylic that I started yesterday called out to be finished.  OK just a few minutes on the acrylic should finish it and then back to what I need to do. My muse had other ideas.

A variation on a Cactus bloom (from top left) oil on panel, acrylic on canvas, pastel on pastelmat, watercolor and ink, monotype with black ink and pastel   available in my Etsy Shop HERE

I finished the acrylic and then remembered I had painted this flower in pastel so I took it out to compare. Then my head started spinning. What if I tried this flower in watercolor?  How about a monotype?  So I quickly took out my supplies (thank goodness for having each medium organized in it's own plastic crate) I finished the watercolor and the monotype and set them aside to dry. Now how about oil? I dug through my paints and found a tube of magenta and set to work.  After a busy morning I had explored the same subject in 4 mediums!
I didn't work on my commissions and I didn't do any paperwork but I don't feel guilty because sometimes we have to take a detour and go where the muse takes us. It might seem crazy but in the end being an artist is about the journey and not the destination.  If we are always too concerned with sticking to the 'right' path we will never know where the other path might have led. I know that I am supposed to be creating a brand, promoting myself, creating a cohesive body of work...and on and on. But if I don't stop to paint just for the sake of painting then I will not be able to grow to my full potential.  I have to give myself permission to take a break from what I am 'supposed to do'  and enjoy my own art journey.
Detours are good for your art because they help you explore new territory which keeps you from getting in a rut and creating paintings that are only in your comfort zone. They can keep your outlook fresh and give you ideas to use in your usual work. Detours can take away the pressures of creating art that people want or expect you to do. Your detours will only help you grow as an artists so don't feel guilty when you get the urge to go off the trail!

What version do you prefer?

'Desert Bloom'   8x10  pastel

 

'Desert Pink 2'     6x6   acrylic

'Desert Pink 1'    monotype with pastel

'Desert Pink 4'    watercolor & ink

Try a New Pastel Technique...Stained Glass Pastels

'Desert Grace'          6x6        pastel             ©Karen Margulis
purchase here  $50

Sometimes you just want to color.  You know ... as in taking out a box of sharp new crayons and a crisp coloring book and color. Some of us like to outline our pictures. Some are careful to stay in the lines. But coloring is always a nice way to relax and play with color.  When I want to have fun with color and not worry too much about anything else I take out a piece of compressed charcoal and my pastels and do a 'stained glass' painting. Here's how:

Step one: Draw with charcoal

Step two:  Start coloring!

• All you need is a piece of paper, a piece of compressed charcoal and some pastels.
• Choose a fairly simple subject. You will be simplifying the subject with a simple like drawing (a great exercise)
• I start with a light pencil drawing to block in my composition. I then outline with the charcoal pressing hard for nice bold dark lines.
• Now I get to color!  I don't worry about staying perfectly in the lines.
• When I am finished with the color I go back with the charcoal or a charcoal pencil to darken the lines.

This technique of painting is not my usual style but I find it very relaxing and a good way to paint without having to think too hard.  Sometimes I just like the bold graphic look I can get.  Another fun exercise is to take a subject and paint it as a stained glass painting then paint the same thing in your usual style. You will see how you might simplify your subject by having to flatten it and make it into a line drawing! Try it! (I think I'll take my own advice and try it too)

'Aspens'   5x7  pastel

Advice for Painting Loosely

'Summer Bouquet'        5x7        pastel          ©Karen Margulis  SOLD

"Every child is an artist. The problem is how to remain an artist once he grows up." Picasso

 Paint with the fearlessness of a child.  I saw it this week with my summer art camp. I had four  nine year old girls for three days of art.  They took on each project with joy and they were not afraid of 'doing it the wrong way'.  Each child created work that was totally unique and free. They didn't worry about following the rules or painting something like someone else. They just let allowed themselves to create without restrictions.

The other evening in my adult pastel class we did the dusting technique. This technique is not for the perfectionist. You can't totally control the outcome only guide it. It is a perfect way to keep loose. One of the students commented that she found  the more she learned and the more classes she took, the tighter her work had become.  This happens often.  The more we know about painting and art concepts the more we slow down to think about everything we do in a painting.  This is a good thing but it often interferes with our spontaneity. We tighten up because we are afraid to take chances in case we aren't doing it 'the right way'.

We need to find a balance as we learn and grow in our painting knowledge. I try to do all of my thinking and planning before I start the painting so that I am free to be more intuitive as I paint.  I also make sure I set aside time to experiment and play with my materials rather than always trying to paint something 'good'.  Sometimes I think I am wasting time and not being productive but these play session help keep the child in me alive.  So go play with your paints today and paint with the fearlessness of a child!

If you would like to learn more about the dusting technique for pastels read my blog post on Dusting HERE

The Benefits of a Dog in the Studio

'One More Time'       8x10          pastel         ©Karen Margulis  

 Cats or dogs....having them around while you work is a bonus for me.  I am writing about my dog today in honor of National Take Your Dog to Work Day.  I have six cats too and they love coming down to my studio especially when I have students. They are very sociable.  But the dog is another story.  Heidi is now 16 months old and still has a lot of puppy energy but it comes in bursts now instead of being constant. She is now a great companion to me in my studio. It took some training but she doesn't bother with my art supplies and usually finds a spot to nap (usually right behind my feet under the easel)  Here are some of the benefits of a studio dog (or cat)

Heidi's usual spot. I have to be careful when backing up.

1. They are good company. During a long day in the studio with no one to talk, a pet keeps you company and if you feel like talking, they'll listen.
2. They are great critics. They may not be able to advise you on how to improve your painting but if you are having a bad day they have an uncanny way of making you feel better.
3. They keep you active.  Several times a day my dog brings me a ball.  For me it is a break that I wouldn't normally take but going outside to throw the ball a few times is good for me and good for my work. I come back to the painting with a fresh eye thanks to the dog!
4. They can lift your mood and relieve stress. I try not to get stressed but sometimes deadlines loom and projects take on a life of their own. It's hard to resist a goofy dog smile and wagging tail. Instant mood change!
5. They can be good at guarding. I say 'can' because Heidi usually barks when there is a visitor at the door except for the other day when I left the door open and the neighbor's dog came in. I found them both playing upstairs. They walked right past me as I was washing out brushes! I had a good laugh though.

Today's painting is an informal  portrait of Heidi in her usual 'play ball' pose. I am gearing up to do a more formal painting from a recent photo that I love.  If you like to paint animals you may be interested in my post on painting the colors in animal fur HERE

My Tip for Painting Summer Greens

'Summertime'          8x10      pastel      ©Karen Margulis
available for $95 by paypal

I live in the 'Land of Green'.  The Southeast is a beautiful part of the country especially if you like green.  In the summer you will find every shade of green in the hills and trees. It can be a challenge to paint the summer landscape and make some sense of all the green. Of course with pastels we never think we have the right green no matter how many pastels we have. I encourage my students to find ways to make the greens they do have work for them. I'd like to share my favorite tip...Lay out your greens before you start painting.

The palette I used for 'Summertime'

I always lay out all of the colors I will use in a painting before I start. I like to have a starting point with my color choices. I may add or take away during the painting process but I always keep the pastels I am using separate.
In the photo above you can see I have set aside some darks, some sky colors and some hay bale colors. I have also pulled my greens. I take the greens a step further and line them up as best I can by value and temperature.  This helps me when I start painting a green landscape.
 I know that generally the greens are cooler and lighter in the distance and get warmer and more intense as they come towards the foreground (there are always exceptions but this is true a good bit of the time)  Now when I start painting the greens I can more easily see the cooler vs warmer and darker vs lighter greens.
 When your green pastels are mixed in with all of your other colors it is harder to judge what kind of green it is. Putting them all together helps you see the temperature and value more easily. Now I can paint my meadows and trees more intuitively without having to hunt for the 'right' green.

My chart of meadow colors

We all have different brands of pastels and so our green collections are all different. I made a chart of my greens so I could see if I had enough variety of cool vs warm and light vs dark and greyed greens vs more intense greens. It was a great exercise in seeing and it helped me see where I was lacking in greens. Sometimes we have trouble deciding if a color is warm or cool. What I do is take a really yellow green one that is obviously warm. Then take your pastel and hold it up to this warm green. Ask yourself if this pastel seems to lean more to blue or to yellow. The more blue you see the cooler the green. Comparing a stick to one you are sure of will help.  I encourage you to make a chart of your greens and try a green painting!  There are other tips for painting a green landscape which I will share in another post.

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Have You Tried Monotypes with Pastel?

'Summer Wishes'        5x7     Monotype with pastel        ©Karen Margulis   $45

'Summer Wishes II'            monotype with pastel     (ghost print)

Day two of Summer Art Camp.  We did monotypes and we will add pastel tomorrow.  After the kids left I couldn't help myself and did a few prints. Can you tell I am having fun with camp!  I was introduced to monotypes last year by my son who was doing them at school. (SAIC)  Monotypes or monoprints are one of a kind prints made by painting on a non porous surface. You can transfer the print by hand and you can use a variety of inks or paint which makes it an easy way to try printmaking. They are called monotypes because you usually only can pull one print. You can make changes and do another similar print.  The plate can then be cleaned and used again. 
Sometimes there is enough ink on the plate to allow a second print which is known as a ghost print because it will be fainter than the first print. Degas worked with monoprints and many of his pastels were done on top of his ghost prints.  I have a wonderful book called 'Degas A Critical Study of the Monotypes' by Eugenia Parry Janis.  In the book there are reproductions of the monotypes with descriptions of how Degas acheived the effects.

This is the first pull of my dandelion print, before I added pastel. This monotype was done using the subtractive method. I covered my plexiglass plate with black block printing ink and drew into the ink with Q-tips and bamboo skewers.

For this print I used the subtractive method. I applied black ink to a plexiglass plate and removed the ink with a variety of tools. I used cloth, Q-tips and bamboo skewers. I don't have a press so I did a hand transfer by placing my paper on top of the plate and rubbing with a tool called a Baren. You can also use the back of a wooden spoon.  I had enough ink to get two prints and when they were dry I added pastel to both.

This is my inked plate with my drawing before I printed

This poster shows the many ways one can do monotypes

There are so many ways to do a monotype....more than I can share in this blog post. If you are intrigued by the possibilities of monotypes then I recommend a website devoted to monoprints HERE  You probably have all the tools you need to try this fun medium right now. I started with a piece of glass from an old frame, a tube of black oil paint, some Canson paper and a wooden spoon!

Summer Art Camp Fun...Van Gogh's Sunflowers

'Summer Joy'              12x12        acrylic on canvas    sold

Some of my fondest summer memories are the arts and crafts I did at camp. Art was the best part of camp for me so when I was asked to have a mini art camp for a few 10 year old girls I happily accepted.  Yesterday was our first day and we had a lot of fun.  The focus was using acrylic paints and mixing colors. We talked about Vincent Van Gogh and how he interpreted his sunflowers but in the end all of the paintings were totally unique and we decided they really did match each girls personality.  It was so much fun to see them have fun painting and sharing with one another.

Painting Sunflowers with Acrylics

We only had an hour so as much as I would like to teach how important the clean up is I decided to devote our time to creating. So I was left with quite a bit of paint which I decided to use for my own sunflower painting!  I felt like a kid piling on the thick paint!  Today we are talking about Degas and his dancers and we will be doing Monoprints! I can't wait!

Why not join us and take out some acrylics and paint some sunflowers.  Let yourself go and have fun. No pressure, just see what happens!

What Every Landscape Painter Should Know

'Edge of the Marsh'            6x8       oil on panel         ©Karen Margulis
purchase painting here $125

Aerial Perspective!  When I understood this concept, it made all the difference in my landscape paintings. It is really such a simple idea and easy to implement in a painting but for some reason it didn't click when I fist began painting. That is true with most painting concepts. There is so much to learn that you can only process so much at one time. I have found that I need to be exposed to some concept several times before I have that 'Aha' moment.  That's what happened with the idea of aerial perspective.

What is aerial perspective or atmospheric perspective?  Aerial or atmospheric interference with visual perception causes loss of contrast, detail and sharp focus. What this means for the painter is that we can create the illusion of distance and space if we understand what happens to how we see things as they recede. There is science behind this concept and if you want to read more about the whys of aerial perspective, I recommend reading John Carlson's book 'Carlson's Guide to Landscape Painting'.  He has a chapter devoted to aerial perspective.  Just knowing what happens and how you might translate this effect in your painting is the key to having a painting that looks three dimensional.
Here are some of the things that happen to objects as they go back in space.

• SIZE OF OBJECTS-smaller objects seem farther away
• OVERLAPPING -by partially covering one object with another it gives an appearance of depth
• TEXTURE-More texture visible in objects that are closer
• SPACING-objects clustered closer together seem farther away
• FOCUS-objects lose detail as they recede into space.
• COLOR-color intensity is much greater closer to the viewer and tends toward medium gray as it recedes.

Understanding this concept helps me make decisions as I paint. Take this plein air marsh painting as an example.  As I painted I asked myself...How can I make this scene have some sense of space?  Well I can use cooler, greyed down colors for the distant land mass. I can make sure the tree masses have softer edges and less detail. In the distant marsh grasses I can paint them with lighter, cooler greens and have my brushstrokes smaller and closer together. I can warm up the greens as I come forward and I can show more texture and detail in the mid to foreground grasses and flowers.  I don't have to use every one of these things in every painting but if I can use some of them and even exaggerate them somewhat I will have a more successful landscape painting!

Quick Demo of a Daily Oil Painting...Beach Dunes

'Wild and Free'          5x7          oil on panel       ©Karen Margulis  $100

I'm glad I was keeping track of how I spent my time this week.  I was productive and I have proof on paper!  Now I will treat myself to a weekend with family at the lake.  So today I am scrambling to get myself together and packed and set up the room for my first day of Summer Art Camp.  On Monday morning I will have 4 10 year old girls come for art camp.  They will be coming for three days and I have some fun projects planned. I will be joining them and I will blog about it too so you are welcome to join us! I'll be back to posting on Monday.

Today I am sharing a mini demo of one of the oil paintings I did this week. I had some paint left over on my palette after working on my big oil. It wasn't really enough to save but too much to throw out so I did this 5x7 beach scene.  This is Dionis Beach on Nantucket Island. It is a beautiful beach sheltered by Dunes. We were the only ones there to enjoy it and it just seemed so wild and free.

Mini demo of Dionis Beach dunes

1. (from top left) I am working on a 5x7 panel which I have toned with thin paint that I wiped off leaving a yellow-orange tone.  I indicated my design with thin reddish paint.  
2. Next step I block in the darks with alizarin and ultramarine blue, I vary the mixture and have some areas lean more toward red. I took a break and worked on something else for an hour to let this thin area of darks dry somewhat. I put in a darker yellow orange in the foreground sand. I want to have this peel through the lighter sand color later on.
3. I mix the blue for the water with some white, ultramarine and Phthalo Turquoise (yes I added a new color to my limited palette!)  I continue with the sky my lightening the water color and adding some warmer colors near the horizon. I move onto the greens my adding some more blue and yellow to my sky colors. I use this lighter, cooler green in the distance and warm it in the foreground grasses.
4. Now it is time for the sand. I start with the distant sand which is a duller pinkish color and I gradually make it brighter by adding more yellow and white for the foreground sand. I finish by adding some grasses and shells with a palette knife.

A Day in the Life of a Daily Painter

'The Cloud Show'       8x10         pastel        ©Karen Margulis
painting available $95 Daily Paintworks

I love my studio!  I looked around today and realized I had five easels in use...and they were all my painting projects.  I am fortunate to have the space to spread out and have many things going on at once.  Sometimes it is a juggling act to keep on top of all the things I want to do. This week I started writing down what I am doing and how much time I am spending on each task. I am seeing how I might better manage my time by seeing how I really spend it.
Take today....I worked on all five of these painting projects, shipped some ebay stuff (my sister and I have an Ebay store),  posted to the blog, listed on Etsy, answered emails, did laundry, gave the dog a bath, visited with my daughter, checked in on facebook (several times) Oh and I had a two hour morning private class with two students and painted a nest demo for them. I think it is helping to keep track of  the time I am spending because it is making me try to be more productive.

 Being able to paint everyday for my 'job' is a wonderful thing. Sometimes I get overwhelmed by all the things I want to do and I wander around the studio aimlessly instead of just diving in and starting the project. Writing it down helps me focus.  And having proof of a productive week will make it easier to enjoy the days when I don't feel like doing anything at all!

Working on setting up a display for next week's classes

Working on some minis for my new Gallery (more later)

On another easel....the start of a commission of Santa Claus

On another easel....a 30x40 oil commission...just put in some darks

On my EasyL...a small 5x7 oil to use up the rest of my paint

These photos are just an overview of what I am currently working on. Being a Daily Painter also entails all of the business things we need to do such as planning, promotion, accounting, shipping, keeping up with supplies and painting inventory. These things need to be done along with painting. But with a plan and some focus it can be done and I wouldn't trade my job for anything!  I hope you enjoyed a peek into my studio!

If you haven't seen my studio tour, click on the tab at the top of the page!

What We Can Learn From Painting a Bird's Nest

'Lessons From a Bird's Nest'        5x7          pastel     ©Karen Margulis  sold

"Wow that was easier than I thought it would be!"  My student seemed surprised at her success in painting a nest.  The nest photo certainly did look complicated and full of detail...all of that intricate weaving of twigs, straw and other bits and pieces.  Where does one begin?  I reminded her that we need to first look at the big picture. We need to see the underlying shapes and patterns of light and darks. We blocked in the nest with these big simple shapes before we even thought about weaving in the details. "Think like a bird" I told her.  We want to build a nest that will be solid and will protect the fragile eggs. We needed to put in this structure before we could put in the bits and pieces.

It occurred to me that the thoughts I shared with her about painting a nest could easily be applied to painting other subjects. No matter what we choose to paint, it helps to see the big picture and build the nest (painting) from the strong simple shapes before getting caught up in the detail. Here are some tips:

'The Empty Nesters'       11x14      pastel
purchase in my Etsy shop $145

• Look at the Big Picture.  How will you place the subject?  What are the simple underlying shapes?
• Don't start with the straw!  You weave in the details later in the painting process. These bits and pieces will need a structure to hold them together.  Block in the big shapes first and connect your value shapes whenever you can....this is the glue that holds the painting together.
• Gradually build up your painting to the finish. Incrementally add and refine your shapes until you get to the level of detail that you are happy with. 
• Take chances and trust your instincts. Play with color and texture and weave them into your painting.
• Stop when you have said enough. Once your nest is built and you have decorated it with some details...step away.  You don't need to put in every piece of straw for the painting to say 'Nest'.

If you would like to try painting a nest you might like to read my post with demo on painting a bird nest HERE

An Idea for the 'Abstract Challenged' Artist

'Believe I'         4x4      pastel       ©Karen Margulis      $25

original 12x12 pastel used for my abstracts

I am Abstract Challenged.  I love a good abstract painting But every time I attempt to paint an abstract I struggle.  I realize it isn't easy and I admire artists who paint beautiful abstracts. Yesterday I stumbled upon a way to compose an abstract painting quite by accident. So today I spent the afternoon giving this idea a try. The result.....6 small abstracts and an enjoyable afternoon of experimentation!

What did I discover?  In preparing for yesterday's blog post on creating texture with compound dusting, I took a close-up photo of the painting just to illustrate the texture better. When I looked at this little close-up I saw a beautiful abstract design and interesting colors and textures.  This might have been the best abstract I ever did and it wasn't on purpose!  So that got me to thinking.  I can see interesting abstract designs in my paintings but I struggle with starting from scratch and doing something totally abstract. 

So why not paint something larger with the intention of studying it and finding smaller abstracts within the larger painting. It would be great practice for finding interesting designs, colors, textures and shapes. So I painted a simple 12x12 daisy using the Compound Dusting technique. I then examined the painting and was able to find 6 abstracts to cut out.  It was a great exercise in training my eye to see more abstractly which can only help me be a better representational painter....and maybe someday better with abstracts from scratch!

'Believe II'   2.5x3.5  pastel

'Believe III'   4x4   pastel

'Believe' IV'   4x6    pastel

'Believe V'    4x4   pastel

If you missed my post on Compound Dusting you can read about it HERE.  Be sure to sign up on the sidebar to get updates of new posts. And if you like a post please share!

Here's a Technique for Adding Texture to Pastels

'Beautiful Bloom'             5x7      pastel          ©Karen Margulis
sold

Detail of 'Beautiful Bloom' showing the build up of texture

I think I will call it 'Compound Dusting'.  I first discovered the pastel technique of dusting on Richard McKinley's Pastel Pointers Blog. You can read about dusting here.  Basically it is a way of adding layers of pastel by shaving some pastel dust over your painting ad fixing it with fixative or pressing it into the painting.  I have experimented with dusting over the last few months and got some exciting effects. But I wanted to kick it up a notch. I wanted to find a way to add even thicker texture to my pastels.  Here is my first try at Compound Dusting.  What is that you ask?

To use the dusting technique, you need some pastels that you don't mind shaving. If they are very soft you will get more chunks and crumbles and use up the pastel quickly. If the pastel is too hard you will get a very fine dust.  I prefer a medium soft pastel. I am enjoying the consistency and colors of the Jack Richeson soft pastels for this technique.  For compound dusting I am building up the painting by dusting, pushing the dust into the paper with a rolling pin and spraying with workable fixative. Instead of this beging the final layer, I keep on layering by repeating the dusting process. See the step by step below:

1. (from top left)  I am working on a piece of Wallis Belgian Mist mounted to matboard. I block in my flower with some hard and soft pastels. No blending.
2. I lay the painting flat on a table and start dusting by shaving the pastel with a palette knife over the painting. I start with the darkest areas. I roll this in with a rolling pin. I use a piece of glassine to keep the colors in place. Now I spray with workable fixative and immediately start shaving the next layer.
3. I have repeated step two 4 or 5 times and the pastel is getting thick.
4. To finish the painting I put it back up on my easel and refine areas with soft pastels. I also do some negative painting by removing pastel and drawing with a steel push pin. Love to do this! 

I really enjoyed the compound dusting and I am going to see how else I can incorporate this technique into my pastels!
Read more on Dusting HERE
Read more about using a steel push pin HERE