Inspiring Skies...An Idea for Painting More Interesting Skies

'Wild Wild West'       8x10      pastel    ©Karen Margulis sold

I find I get into a 'Sky Rut' sometimes.  That's when I paint the same blue sky with happy white puffy clouds.  It is easy to paint the same kind of sky over and over because it works. I know the colors to use an how to get the effect I want. It becomes a formula. I need to remind myself that the sky isn't always blue and clouds aren't always white and puffy.  So I have a few ideas for helping me to break free of a sky rut.

'I Can See Forever'       8x10      pastel

• Pay attention to the sky!  Don't be too busy to look up once in awhile and observe the sky. Take a picture with your phone. Try to describe what you see in visual terms....what color is the sky? What shape are the clouds? What colors do you see?  By actively studying the sky you are adding this information to your memory so you can recall it the next time you need fresh ideas for a sky in a painting.
• Paint small sky studies. Try painting small 5x7 10 minute studies of clouds and skies. Experiment with different colors and mark making. Studies are not meant to be precious so you are free to try new ideas.
• Study the work of other artists. See how others paint the sky. Analyze the work and try to figure out how they achieved their skies....what colors did they use? How was the paint applied?  Try doing a sky painting that is inspired by another artist. Not only is this a lot of fun, it is a great learning tool.  

For the paintings in today's post I was inspired by color palettes I found while flipping through an art magazine. I also tried to use different marks than I usually do. 

Yankee Boy Basin Wildflowers...Trip of a Lifetime!

'Yankee Boy Meadow'    20x20   pastel   ©Karen Margulis

'Meadow Dreams'       20x20        pastel 

Before I started to paint I considered myself an amateur photographer. I took classes and used slide film  and lusted after lenses for my camera.  I also studied photography magazines and books and had a list of places I wanted to visit. One of these places was Yankee Boy Basin near Ouray Colorado. I wanted to visit in July at the peak of wildflower season. I had admired the photos taken at this spot and wanted to see the wildflowers for myself.  I wasn't dissappointed!

We took a jeep tour up to Yankee Boy Basin and that was definitely a wild ride!  At the top our driver let us off to wanted the meadow and take photos.  It was amazing!  I took so many photos that I haven't even scratched the surface of painting possibilities.  The paintings in today's post are commissions I did for a collector who also has great memories of Yankee Boy Basin. They were a lot of fun to paint since they are larger than I usually paint at 20x20 each!

If you are looking for a wonderful personal holiday gift, consider commissioning a painting of a favorite landscape. I can work from your photos. Contact me for more information. I will be taking a few more commissions for the holiday season.

How to Discover Simple Compositions for Paintings

'Over Golden Fields'         4x4       pastel     ©Karen Margulis  $35 Etsy

Make every inch beautiful.  I wrote about this in a recent post and I am trying to remember this wonderful advice from Nancy Guzik.  Today a student brought in a pile of viewfinders she had made from black matboard scraps. The view finders are 2 inch squares which will be perfect for checking over a finished painting to ensure that there is something beautiful happening all over the painting.

But after the morning class left I had a great idea for the little viewfinders.  Why not use it to find beautiful little paintings within the painting!  Have you ever had a painting that didn't work but had areas that were great?  Or at least had possibilities?  This is the same idea.  I tried the idea using the demo I did for the class.

'Indian Summer Day'           16x20          pastel 

Here is the demo I did for the morning pastel class. We are working on skies and I will be posting more about that in future posts.  I took the little viewfinder and held it over the big painting moving it until I found a little snippit that I liked. Laying the viewfinder flat I then painted a small 4x4 pastel based on the simple composition in the viewfinder.

The painting at the top of the post is the result.  Since I could only see a small part of the painting the new painting takes on a totally different mood. It was also easier to simplify the composition since I was enlarging the simple shapes I saw in the viewfinder.

Using a viewfinder to discover new compositions

I am excited about the possibilities of using this little viewfinder. I can see how it will lend itself to uncovering possible abstract compositions as well as simplified landscapes.  We will be trying this exercise in class soon!

You might like to read my post on making every inch of your painting beautiful HERE

Creating a Body of Work ...Lowcountry Marsh Paintings

'The End to a Perfect Day'        8x10      pastel      ©Karen Margulis
sold

 I just had a visitor to my studio. She saw a painting she liked in my Etsy store and lived nearby and wanted to see it in person.  I love having visitors com by to see where I paint. My visitor was interested in my marsh paintings so I decided to take some of my available marsh scenes and put them out on display.
I had quite a few marsh paintings!  When I put them together it was clear that I had created a whole body of work around the Lowcountry marshes! I decided to put them together in a photo collage so I could see them all together.

A collage of my Lowcountry Marsh pastels

I like to paint many different subjects but if I had to choose my favorite subject I would have to say it is a tie between marshes and wildflower landscapes.  It is when I paint these two things that I am happiest. I find I am more often in 'the zone' and that I paint more fluently when I am working with these subjects.
I often read how important it is for an artist to create a body of work.  I don't think I really knew how to do that. It seemed like something as a mystery. Were there rules or a procedure to follow to create this body of work?  I wasn't sure so I just chose to paint what made me happiest.  Sure I played with other subjects but I naturally gravitated most towards the marshes and wildflowers and I painted these things a lot!

'Winter's End'        8x10    pastel    $75 Etsy Shop

I think I found the secret to creating a body of work.  Paint what you love and paint it often.  You will not only improve but your style will emerge.  Painting what you love will show in your work. And you will enjoy it. That makes it even easier to paint more often!  Before you know it you will have a box of paintings of your favorite subject. And when you take them out and put them all together you will have the start of a body of work!

The paintings shown in today's post are all available in my Etsy shop.

A Beautiful Place to Paint...Sanibel Island

'Sanibel Dreaming'       10x20           pastel       ©Karen Margulis
available by Daily Paintworks auction here

I am back from a wonderful weekend in Chicago. The rainy weather gave way to a gorgeous fall day for Corey and Grace's wedding. It was a beautiful wedding. All of their preparation came together to create a unique and creative event. They had all of the guests draw elephants on the response cards and these drawings were framed and posted as the seating charts. It was awesome to see how creative everyone was!  I am still getting caught up from a very busy week so I haven't started painting yet.

  Today's painting is actually one of my older pieces but it never found the right home and I took it out of my online galleries.  I found it during the studio clean up and it brought back such wonderful memories of Sanibel Island that I thought it would be good to share it again.

Sanibel Island is one of my favorite places. It is located on the West coast of Florida and it's location in the Gulf allows for it to act as a collector for beautiful seashells.  It is a wonderful place to visit. The beaches are beautiful and the treasure hunting for shells can't be beat!  It is also a wonderful place for nature. I have never seen so many ospreys in one place. They were as common as sea gulls!

I would love to get back to Sanibel, set up my easel and paint!

This painting is available on Daily Paintworks auction Opening bid $75

Painting the Greens of Summer

'Summer Greens'        8x10        oil on panel   ©Karen Margulis

I often say that I live in the Land of Green here in the Southeast.  It is beautiful but it can be a challenge to paint. With pastels I have it figured out.  After 7 years of collecting pastels (yes it can be an addiction) I have quite an assortment of greens.  The trick is knowing which greens to use.  Not only that it helps to know ways to make all of the green interesting. With pastels I do this by underpainting in complementary colors.

I challenged myself with this oil painting. I painted it from a recent pastel painting. I thought it would be a good exercise to see how many greens I can mix with my limited oil palette.  I also did an underpainting in oranges, reds and purples using thin oils.

Here is the pastel version of the same scene. This was done on Canson Moonstone paper.

Summer Reflections and A New Acrylic and Ink Sunflower

'Summer Fun'        4x4      acrylic       ©Karen Margulis    sold

Now that Summer is coming to an end I am looking back to see what I accomplished.  Summer was very quiet and low key for me. I didn't have any big trips or exciting events.  I put most of my classes on hold so there was no planning or setting up for class.  I did paint though. I painted just about every day.

It was a summer of experimenting with my paintings.  I painted what I wanted and played with acrylics and oils.  I didn't produce what you might call a consistent body of work. There were no big pieces or anything worth entering in a show. I wouldn't say I did anything to advance my career but what I did do was important because it will lead to growth.

Sometimes it is just as important to allow yourself time to explore and paint what comes to you. These periods of down-time have a place in your journey. I may feel like I didn't accomplish anything tangible but what I did do will most definitely have an impact on my work....even if I don't know exactly how!

One of the projects I worked on were acrylic paintings on gallery wrapped canvas. I did a series of flowers and what made them fun were the lines I added with ink. It was a change from my pastels and I found them very relaxing to work on.  At the end of the summer my pens were all out of ink but I have restocked and will be painting more of these soon.

Demo Monday! Bird Nest in Oil

'Simple Treasures'     5x7     oil      ©Karen Margulis
sold

I love oils!  It is the texture I can create with the brush and palette knife that really excites me. A bird nest is a great subject to build up that texture. I am new to oil painting, I've been dabbling for the past few months, but to keep me from being intimidated I remind myself of the process I use for pastels.  If I get stuck I ask myself "What would I do if this were a pastel?" and it helps put me back on track.  There are differences of course but there quite a few things that are similar.

1. (from top left)  I am using a 5x7 panel on my Easy-L easel.  I am also using a limited palette of white, black, alizarin crimson, ultramarine blue, cad yellow medium. I begin the painting by drawing in the basic shapes with thin paint.
2. Next I block in my darks. I am using paint thinned with Gamsol. I used a mixture of red and blue. I then added some dark orange/rust.
3. Next I block in the eggs. Oh yes I did add a color on my palette for the eggs....I added turquoise.
4. Now it is a matter of building up the nest colors. I get lighter and thicker with the paint as I build the layers. I also put in the background. I chose green because it seemed like a good nature color! and because I had some green in the nesting materials. 
5. Oops it looks like my pictures are out of order!  This picture shows the build up of the nest before the background was added. To give you an idea this step probably took me 15 minutes of painting.
6. Finished!  I used a palette knife for the finishing touches.

This nest was fun to paint and I can't wait to do more when I get back from Chicago! No time to paint this week!

A Chicago Night Painting. ...The Drake Hotel

'At The Drake'          12x16     pastel     ©Karen Margulis

This was a timely commission. I was asked to paint the Drake Hotel in Chicago and it really helped get me even more excited to head to Chicago this week. My son Corey is getting married next Saturday in Chicago and we couldn't be happier for him and his fiance Grace.  Corey met Grace at the School of the Art Institute of Chicago where they were both students.  They are a perfect match and I have enjoyed watching them plan their wedding and Honeymoon to Maine. It is going to be an exciting weekend!

I do have posts planned for the week but I will be taking a break from the easel. I will have my new camera though and hope not only to get some good wedding photos but also some great Chicago shots. I enjoy painting the city especially in the evening. I love the lights and glow in the early evening sky.

Approaching a citiscape can be intimidating and it used to be something I was afraid to tackle until I realized that buildings are simply shapes.  My goal is to paint an impression of the city and the buildings. I don't intend for them to be architectural renderings. So all I do is look at the big shapes and decide how light or dark they are. Then I add hints of detail....but they are all just shapes!  I did an alcohol wash underpainting first to block in the big shapes. This gave me a head start and made the painting even less intimidating.

Here are a few more of my Chicago paintings. You can read more about them HERE  They have been sold but prints are available through Fine Art America.

Just go Paint! Breaking a Dry Spell

'Sweet Dreams'           5x7      oil on panel       ©Karen Margulis SOLD

It really is time to practice what I preach.  Whenever I am asked by a student how they can improve their work I get on my soapbox and talk about the importance of daily practice.  In April I set a goal for myself to paint five small oil paintings every week. I wanted to get more comfortable with oils and knew that daily practice was what I needed.

I was successful for about three months and produced my weekly quota of oil paintings. But somehow summer came and I seemed to find excuses for taking out the oils.  I had pastel commissions, I was doing dome reorganizing in the studio, the easel was in the way. Silly reasons.  I had lost my momentum.

Fortunately I had a student who wanted to come paint in oils yesterday so I took everything out and got my space set up again. We painted a landscape and I loved every minute of the process.  When she left I kept painting the rest of the day. I did three small paintings including this one of my cat Jazz. It was like I had gotten oiled. I had let so much time go by that I felt rusty and stuck. It was easier to make excuses than to just dive in and get started again. Once I put down the first few brushstrokes I was primed and ready to paint!

My latest oil paintings

So now that I have broken the ice I want to keep up this momentum. I will leave my oil painting area set up and get some small panels ready along with some ideas to paint. I am actually this little dry spell happened because it gives me a better appreciation of how challenging it is to make time for painting practice no matter how disciplined you are.

If you are putting off painting or even painting more often... just make a start and see where it take you!

Composing a Sky Painting: Before and After

AFTER:  'Color in the Sky'     12x16   pastel   ©Karen Margulis   $145  Paypal

BEFORE:  12x16  pastel    Cloud Demo

Remember looking up at the clouds and seeing animals?  I still see them and I love to watch clouds morph and change into interesting shapes.  Looking for shapes in the clouds is a great way to pass the time but they don't make good paintings.  Usually we want to avoid recognizable or strange shapes in our cloud paintings. What looks cool in real life doesn't always translate in a painting.

When I paint clouds one of the things I try to do is be aware of the shapes I am creating with my clouds. Here are a few of the things I think about:

• Don't be married to your reference photo. It will drive you crazy if you try to paint every cloud that is in your photo. I like to use the photo as an inspiration for mood and color. I will design the clouds so they make a good composition. I never try to copy them exactly. In fact, most of the time I block in my biggest cloud shapes and put the photo away.
• When you have your cloud shapes blocked in do a preliminary check to see that you didn't create any animals. Make adjustments as needed.
• Don't forget about the negative space....the sky area around your clouds also needs to be interesting. Make sure you haven't created an animal with the sky color. 
• Be careful with unusual cloud formations. If the viewer isn't familiar with them then they might think you made a mistake.  Example....we don't have the huge anvil shaped clouds here in Georgia but we saw them all of the time in the Southwest.  Our georgia viewers might think we were crazy if we put those clouds in our paintings!
• When you are finished with the clouds, check again for shapes or animals....they can sneak up on you!

Have a look at the paintings I posted today. The bottom painting is the initial demo I did for a class. The goal was to show how I paint cloud colors so I wasn't paying attention to the design of the clouds. They are terrible! They look like a flock of giant geese!  

So I sprayed the painting with fixative and re designed the clouds. The top painting is the result.

Moving Beyond Local Color...with 16 pastels

'Mountain Dreams'           8x10       pastel         ©Karen Margulis sold

OK so this painting isn't very far outside of the box.  The colors I used are still believable and they are colors we might associate with this landscape....green grass and blue sky. But I always try to make more interesting color choices. At the least I want to infuse my subject with touches of unexpected color. I want to make my subjects more interesting with my color choices. How do I approach color?

I remind myself that color gets the glory but it is value that does all the work. If I can get the value masses in the right place and determine the correct values in the subject then I can safely get away with more interesting color choices. It is all about layering color by value.

I may end up with a mostly green tree or meadow....but I use other colors in a similar value to build up to my final color. So the dark areas in the tree and meadow are painted with layers of dark blue, purple, red and then green.  This allows for more exciting dark areas than if I had only used a dark green alone.

Pastels used for today's painting

Today's painting was a demo for a private student. My goal was to help her understand this idea of color by value.  To simplify this concept I chose only 16 pastels. I allowed myself four colors in four values. I started by choosing 4 dark pastels and then chose 4 light values in the same colors. I finished my selection by choosing middle dark and middle light versions of the same colors.  I didn't really concern myself with color temperature (one lesson at a time!)

I was able to finish the painting with only these 16 pastels. It is a believable landscape because I concentrated on trying to get the value shapes correct. I picked colors that would also be believable in this landscape but I could have done the same demo using totally unexpected colors.....hmmmm now there's a great idea! Back to the easel!

Do you ever get overwhelmed by all of the colors in your box?  Try this exercise of choosing 16 pastels by value and see if it helps!

How to Paint Clouds Sneak Peek

'Desert Sky'         8x10         pastel   demo      ©Karen Margulis   $95  paypal

Online pastel lessons will be coming soon!  This has been something on my to do list for awhile now but I finally found a platform that will suit my lessons perfectly.  I am excited to get my lessons online finally.  I have been asked to add some pastel lessons to the Art Tutorial section at Daily Paintworks.com.

Art Tutorials or Art Bytes are short online art lessons that are affordable. They cover everything from materials to painting techniques. Many are free and others cost $3 - $10.  You can see what is offered over at Daily Paintworks. http://www.dailypaintworks.com/ArtTutorials/ArtByteStore

My lessons will cover pastel materials and techniques as well as tips for painting certain subjects such as clouds.  Think of my art bytes as my blog posts expanded and filled with much more detail and content.  My plan is to take some of my favorite studio classes and make all of the information available in a bite size lesson.  Here is s sneak peek.

My demo table for our Cloud lesson

 In this class we will learn how to paint more effective clouds using colors other than white or gray. We will learn how to avoid painting 'cotton ball' clouds. Why this happens and ways we can prevent it. We will also talk about a blue sky and how we can make it appear more authentic. This is just for starters!

My demo easel

I am looking forward to having access to a  simple and well thought out platform to share my lessons. I will be posting my first lessons in October. My son is getting married next week so I am busy with wedding things this week!  I will keep you posted here on the blog or you can email me and ask to be notified by email when the lessons are posted.
If you have any special requests for pastel lessons let me know! kemstudios@yahoo.com

An Effective Way to Paint Better Skies

'Caribbean Sky I'    4x4    pastel

"The Sky is the source of Light in Nature and governs everything"  John Constable

Get the sky right!  It is one of the most important elements in a landscape painting.  The sky is the light source and it sets the mood of the scene. Even if the sky doesn't play an important role in the painting it still deserves more treatment than some blue paint or pastel marks. It is important to our growth as landscape painters to understand the sky and the clouds.

John Constable knew how important it was. He studied the skies and is known for his clouds. In fact he undertook a study of the sky in which he completed 50 small painting of just the sky. He would write down the effects he was seeing. This is an excellent exercise and well worth the time and effort.

  

My Caribbean Skies Plein Air series

Do you want to paint better skies?  Do you struggle with clouds?  The most effective way to improve is  simply to practice.  There is no sky study by Constable that appears to be transferred directly to another composition. They were studies.  He was trying to capture the ever-changing sky so that he would be better equipped to paint more effective skies.  As Mandi Gomez says in her book 'Essential Constable'. "Constable was simply practicing his scales"

What a wonderful way to think of studies. They are like practicing our scales so that when the performance comes we will be ready!   In today's post I am sharing some of my Sky Studies. I did these  while on a cruise. I would paint a small 4x4 study of the sky every day of the cruise. There is no better way to gain confidence in painting skies and clouds than to practice.  My challenge to you this week....Go practice your Sky Scales!

'Caribbean Sky II'     4x4     pastel  available in my Etsy shop $35

It's Cloud and Sky month in my studio classes. I will share some of my lessons here on the blog so if you like what you are reading please be sure to sign up for email updates, follow me on Twitter or on Facebook. Links on the sidebar!

I Found a New Pastel Paper!

'Poppies Make Me Smile'       8.5 x11       pastel    ©Karen Margulis
available with paypal $75

 What a find!  I was happily filling my cart at Blick's online when I saw a new pastel paper. It was only $13.99 for 25 colored sheets so I had to give it a try.  When the paper arrived I was thrilled that I had ordered it. The feel and the colors were luscious!

It is called Shizen Pastel paper and it is handmade paper from India. It is 100% cotton rag made from discards from the Indian garment industry. And it is made using a pollution free process. It is acid free and is a nice weight of 200 GSM.  The paper has 4 deckled edges that are just too wonderful to hide with a mat.  And best of all the colors are amazing. I used a red piece for the poppy painting but I can't wait to paint on the turquoise piece.  Read on for my review.

An Idea for Framing

Showing off the Deckle Edge

A package of 25 8.5 x 11 sheets of Shizen Pastel Paper

• FEEL: The paper is nice and soft. It took the pastel very nicely but it is better suited to softest pastels. I noticed that the harder sticks pulled up the nap of the paper. It has a nice weight and just plain feels good!
• TOOTH:  The paper had a laid texture and a bumpy handmade surface. Since it is handmade the surface is highly irregular and unpredictable (a quality I love)  Since it isn't a sanded paper, it won't take many layers of pastel. But I didn't mind because I didn't want to cover up the wonderful paper color. 
• I love the deckle edges of this paper. I would definitely want to frame it to showcase the edges although you could certainly use a mat.
• CONCLUSION:  I like the unique look and feel to this paper. I don't mind that it doesn't take many layers. It forces you to make a mark and leave it.  If you like homemade surfaces and unpredictability, you'll like this paper. If you want a regular, even  surface this paper will make you work a bit outside your comfort zone, but it will be well worth it!

I am going to continue to play with this paper. I will be adding some clear gesso to see if I can add some tooth. I'll report back with more details.

Check out the paper at Blicks HERE

Why You Should Go to the IAPS Convention

This Weeks Mini Paintings acrylic, pastel and Ink each 2.5x3.5
these minis available at Daily Paintworks auctions this week

 What are you doing next June 2013?  It's not too late to plan a trip to Albuquerque New Mexico to attend the 10th Biennial convention of the International Association of Pastel Societies.  I just checked the registration site and some of the workshops have been sold out but there are still plenty of workshops, seminars and demos to choose from.

I will be going and this will be my 3rd convention. I have been asked by students if it is worth going and won't it be too expensive?  The answer is YES it is worth going and No it isn't too expensive if you plan it right.  Need some convincing? Read on.

'Hollyhocks I'    2.5x3.5

 Why Should I go to IAPS?

• The opportunity to see the rock stars of the pastel world in action.
• The chance to see your favorite artists demo or take a one day workshop to see if you want to spend money on a longer workshop experience. At my first IAPS convention I saw a demo by Richard McKinley and I knew I needed to get to want of his week long workshops. (which I did and it was a highlight in my painting career)
• The opportunity to try out and purchase the latest and greatest pastel supplies at the expo. All of you favorite vendors are usually there offering specials.
• The chance to talk to your favorite vendors and have supply questions answered in person.
• Visiting Terry Ludwig's booth at the Expo (also known as the Candy Store) and getting to make up your own box of pastels with all of his luscious colors available. 
• Meeting your favorite pastel artists in person.
• Meeting new friends and visiting with those you don't get to see very often.
• Albuquerque New Mexico!  is a great place to visit. I always try to spend an extra day or two to visit some of the great places nearby. Santa Fe, Taos, Acoma Pueblo for starters!
• Being immersed in a high energy atmosphere for a few days surrounded by others who share a passion for pastels! 

'Hollyhocks II'  2.5x3.5 

 But I am not a professional artist or I am new to pastels....Should I go?

• YES! for all of the same reasons as above. You don't need to be a professional of have a lot of pastel experience to get a lot from the convention offerings. Last year several of my students went and had a wonderful time and learned a lot. In fact several will be going again!

'Hollyhocks III'   2.5x3.5

OK I am convinced But I can't afford to go!

• First remember that it is a business deduction if you are a working artist. 
• Try to find a roommate to share the cost of the lodging. 
• Breakfasts, one dinner is included in the cost of registration. I saved money on food by getting snacks and drinks and the nearby Walgreens. There is a wine shop and Bistro within walking distance of hotel that has great wines from New Mexico.
• Start looking for airfare deals. Last time I got a great fare from Atlanta on a one day sale. I paid $200 round trip!
• Check you change jar....those coins add up!  
• Have an open studio Holiday sale and put the proceeds towards your trip!

I hope to see you at the convention and if you have any questions please ask!  

For more information visit the IAPS Convention Blog HERE

Inspiration for the Weekend...How to Improve your Paintings

'Beauty Among Us'     5x7       pastel     ©Karen Margulis  purchase for $95

I love reading older art magazines. They are filled with tips and inspiration.  I buy them in lots on ebay and browse through them when I have some downtime. I came across an article in a 2011 issue of American Artist about artist Kathy Anderson and I want to share a nugget of wisdom from the article.

Kathy's flower painting are just wonderful and I thoroughly enjoyed reading about her approach and background. One thing really stood out to me though.  She studies with Richard Schmidt and Nancy Guzik and one of the things Nancy told her  is to "Make every Inch Beautiful" in your painting.
I love this advice!

Using mat corners to check over a finished painting. Is every inch beautiful?

Nancy says she always thinks of this advice when painting when she wants to see what else needs to be done. She says it is about making even the quiet areas beautiful with purposeful color.  It is about every area having something that you meant to be there.  It doesn't mean that every inch has to contain something but it has to be purposeful.  In other words don't just neglect an area or put something random there because you don't know what else to do. Look at it and think about what it needs or doesn't need.

For today's painting I decided to try this idea and I cut some mat corners so I could isolate every inch of the painting and see if I was successful in making it all beautiful!

See Kathy Anderson's work on her website www.kathyandersonstudio.com

Cool Studio Tool for Reference Photos

'Nantucket Breeze'        8x10     pastel       ©Karen Margulis

Cleaning the studio was a good thing. I uncovered all kinds of buried treasures!  Like this cool little clip from Holbein.  Have a look at the photos below to see the clip in action.  I bought them at the last IAPS pastel convention but they somehow got buried in a basket of miscellaneous supplies. They are called 'The Grip Clip' made by Holbein.

The Holbein Grip Clip in Action

This clip is perfect for attaching your reference photos to your support board or easel. It is made of an alligator type clip on one end and a patented head which allows you to slip your paper/photo in and out without ruining the paper.  The best part of this clip is the flexible, bendable connecting piece that allows you to position your paper or photo exactly where you need it. I bought two of the short 4inch clips but they also had some longer ones.

Close up of the Holbein Grip Clip

I usually just use a bulldog clip or piece of tape to attach my photo to my board but I really enjoy the flexibility of this little clip. And it doesn't destroy your photo!  Now I'm sure you are asking where you can get a Grip Clip.  I just did a google search and couldn't find them for sale.  I didn't find them on the Holbein website but I am sending them an email to find out what happened to their clips!
If anyone knows where you can get these clips please share with us!

How do you attach your reference photos to your easel or board? I'd love to hear some of your ideas!

I just had a note from a reader who says you can get a similar clip at www.accurasee.com

My Top 3 Tips for Painting the Night Sky with Pastels

'Island Moon'       11x14       pastel     ©Karen Margulis  $145 Paypal

I have been on a night painting kick lately. No I haven't been an intrepid plein air painter outside with my flashlight.  I have been painting from my photos.  I am drawn to the beauty and mystery of the night sky. But my photos don't always capture this beauty. I have learned to use them only as an inspiration.  I have to rely and what I have observed about the evening sky and infuse that into my paintings.

A collection of my Night Paintings

  Here are the top 3 things I think about when painting a twilight or night landscape.

• Pick the right time to go out and paint or take photos.  The best time for night photos is actually just after sunset when there is still some light in the sky. Known as the 'Blue Hour' this is the time when the sky has colors such as rich deep blues and purples. After this blue hour the sky becomes an uninteresting inky black.  To read more about the blue hour, see my post here

• Look beyond the photo... put color in the darks.  Typically point and shoot photos don't always do a good job capturing the colors at night unless you take time to find the right settings. Photos tend to be underexposed and too dark. If we try to paint what we see in the photo we might end up with an overly dark painting and paint the land black.  Colors are more muted and dull in low light but they are there! This is the perfect opportunity to use those dull browns and greens and purples in the dark areas. Avoid using black!

• Pay attention to the values and designing with the lights.  In an evening scene you will be using colors that are mostly dark values and some very light values from a light source (moonlight, streetlights, etc).  If you have middle values these are present most often in areas that are lit.  It is important to pay attention to how you place the lights. You don't want them to appear spotty and since they will draw the eye due to the strong contrast against the darks, be sure to place them in places where you want the eye to travel. 

A Quick and Easy Way to Tone Pastel Paper

'Moonlight Serenade'       11x14       pastel      ©Karen Margulis
available $145 with paypal

Sometimes white paper just won't do.  I like to paint on white paper because gives a feeling of light to a painting.  But there are certain subjects that do best on a colored surface. Sometime the white of the paper peeking through the pastel are distracting. If you don't have colored paper or use a white or light colored sanded paper (Uart, Wallis) then this method if a great technique to try.

Toning UArt Paper 

It is quick and easy to tome a piece of paper with a stick of hard pastel and a piece of pipe insulation foam.  Simply use the side of the pastel and cover the paper with a light layer. Use a hard pastel so you don't fill up the tooth of the paper. You only need a light layer since you will be rubbing it in. I use a piece of foam pipe insulation that I cut into small pieces to rub the pastel into the paper.


Why would you want to tone your paper?

• Toned paper helps unify your colors. The bits of the toned surface will peek through giving instant color harmony to your painting.
• The color of your paper helps set a certain mood or feeling. A warm color lends a warm sunny feeling while a cool color can give a moody, cool feel to the painting.
• Toning the paper can help take the fear of facing a 'blank canvas'. Just the physical act of spreading the pastel on the paper can help you get warmed up to paint.

This week my studio pastel classes are back in session and we are painting the night sky!  I will be sharing some of my lesson on the blog tomorrow so be sure to check back. If you haven't signed up for updates I Invite you to sign up (on sidebar on the right)