Why Bother with Plein Air Painting?

'Back to Abiquiu'        18x24        pastel        ©Karen Margulis
available $450

 It has been a long time coming. I have been wanting to paint this scene for a couple of years now. My plan was to take the little field study I painted and paint a larger version in the studio. I envisioned it big ... 18x24 which is big for me. I framed the little study because it came attached with great memories. It sat in my studio and I would look at it and tell myself that someday I would paint it larger. Today was the day. But did I wait too long? I was a bit concerned as I took out a full sheet of Uart paper.

Would I remember the place and be able to capture how I felt about it after a few years had passed?

I need not have feared. As soon as I took a good look at the little 5x7 study it all came flooding back. I recalled every detail of the afternoon painting on the bluff overlooking the Chama River. I remember it was a warm day but with a gentle cooling breeze. I remember taking out a piece of 5x7 paper and deciding to tone it orange because of all of the warm rocks underlying the scrubby bushes. I remember hearing the water and some ravens. I remember feeling at peace....happy to be in New Mexico and enjoying the first day of a mentoring workshop with Richard McKinley. Looking at the little study brought back the memories that all of my senses took in that afternoon.

The 18x24 painting with the 5x7 study

I don't think I could have recalled the place so well by looking at a photograph. The time I took to paint the scene...to choose the colors...to simplify...to immerse myself, allowed it to become a part of me. It was worth the time and effort required to take supplies outside to paint.

Why bother? I was once asked. Why hassle with equipment and the elements when you can paint in the comfort of a studio? Why? Because it is the best way to really see what photos miss. It is a wonderful way to fully experience your subject. It is the best way to put more of yourself into a painting. Your response to a place live and in person is better than relying only on a photo.

I did an alcohol wash underpainting for the large painting

Here is an excerpt from the blog post I wrote on the day I painted the study:

 We painted from morning until the sun sank behind the cliffs. It is a dream come true. The opportunity to paint in such an inspiring place with a group of artists who are passionate about what they do is priceless. Today was the first day of the workshop with Richard McKinley and since this is a mentoring or next level workshop the morning meeting was short but filled with great advice. Richard issued us a challenge for the week: To be more conceptual....go deeper....be more present.....go beyond the mechanics of painting....go farther! 

Our first painting location was a spot high above the Chama River. Yesterday I painted at the river bank....today I was like a raven soaring over the river as it rounded the bend. It was fantastic. I did 4 studies and had a wonderful time.

Why You Should Get to Know Your Paper

'Under the Desert Sun'             18x24             pastel             ©Karen Margulis
painting available for purchase $250

I just returned home from a fantastic visit to Phoenix, Arizona.  I was there to do a demo and teach a workshop for the Arizona Pastel Painters Association. I loved every minute of my visit. What a fantastic group of artists! It was a pleasure to share with them.

The theme for the workshop was 'How to Loosen Up and Add Spice to Your Paintings'. It was all about simplifying our subjects and learning ways to interpret our reference photos rather than copy them. It was so exciting to see everyone (21 artists) go outside of their comfort zones and try new techniques and exercises. Their work was impressive. We could have easily held a nice show of the finished work!

It is always wonderful to share but so often teachers receive back even more from their students. And so was the case in Phoenix. Not only did I pick up so great tips from my conversations with the group... I learned a valuable lesson about paper.

Know your Paper!

Getting set up for my demo

Get to know your preferred paper before you try another type or brand. It is great to experiment but jumping around from paper to paper doesn't allow you the chance to know how each paper really performs. You need to use a paper over and over until you know what to expect. You want to know without a doubt how your pastels will work and how to get the effects you want. 

When you are familiar and comfortable with a paper then you will better understand how the paper choice influences the outcome of your painting. The same way of working doesn't always get the expected results on an unfamiliar paper. Paper really does matter!

I know my paper. My go-to paper is Uart 500 and I know how it performs for me. I am comfortable with it and know what to expect when I use it. It never surprises me. Except for at my demo in Phoenix! 

I decided to buy Uart Board for the demos thinking it would be easier to carry and put up on the easel. Not such a good idea. I rarely use mounted Uart and I didn't expect that the mounted Uart acts differently than unmounted Uart paper.  Somehow the texture of the conservation board comes through and creates a totally different feel to the paper. My pastels didn't go on smoothly and there was a lot of texture peeking through. You can enlarge these photos to see the texture. 

'Along the Chama'                18x24           pastel             $250

I didn't  mind the texture. In fact I kind of enjoyed it but it meant I needed to work a bit differently to get the painting the way I wanted.  It will require some more experience until we become better friends.

So often we don't give much thought to the paper we use. Maybe we choose the paper on the top of the pile or use a paper because we don't like it and have lots of it and we want to use it up!   But paper does matter. It will effect how the painting looks. Make it a priority to get to know your paper. I know I will!

I'd love to come teach a workshop in your area! Let me know if you are interested in learning more! click here to send me an email.

Finding the Right Reference Material for Painting

'Wandering'          12x18                pastel            ©Karen Margulis
painting available here $165 

 I used to spend hours on what should have been a simple task. Finding and preparing my reference photos for my paintings was a process. First I would spend hours going through online sources. I used the Wet Canvas Reference Image Library. Then I would narrow it down to a few and print them out....at least 5x7 on photo paper. They had to be big so I could see the details.

Not anymore. Not only did I waste ink and paper printing out large photos, I did myself a disservice. I wasn't painting things that meant anything to me. I was painting things that looked nice or looked easy enough for a beginner. My paintings lacked something....they lacked Me!  I now work only from my own reference photos and my paintings have become my own.

I encourage my students to work from their own photos but the biggest question I get from them is "How do I know what to take pictures of?" Great question for all of us who work from photos and the answer requires some contemplation on our part.

My tiny reference photo and the underpainting....alcohol wash

It seems like the answer is easy. Just go out and take pictures of things you like. First you really have to figure out what you do like. You may have a lot of different subjects that intrigue you. But stop and think about what really gets you excited.....when you see it you immediately want to paint it. It doesn't have to be a thing, it can be a quality or maybe a certain mood. It can be intangible but you need to identify what that something is.

The things that cause us to stop and pause are a clue to our passions. These are the things we will paint the best. These are the things we should look for when collecting reference photos.  Here is a good rule of thumb.....if something makes you stop, if it makes you smile,  take a picture if you can...or remember it and sketch it. Try to record it and take note. These are clues to our personal vision. Gather these clues and use them when you paint.  Here is a quote that reminds me to do this:

"The things you are passionate about are not random, they are your calling"

                Fabienne Fredrickson

Some artists prefer to work only from life. I do as well but I also enjoy working from my photos. I remind myself that they are clues. They are not meant to be copied. In this way they help me. I took many liberties with today's painting. The photo reminded me of things I liked. I made the painting my own.

What to do After a Workshop or Painting Trip

'A Magnificent Day'                12x18              pastel             ©Karen Margulis
sold

 Get in the studio and Paint!

It isn't always easy to do. When returning from a workshop it is all too easy to get caught up in the business of everyday life. There are errands to run. Unpacking. Laundry. Emails to read. All of the sudden the high from the workshop has been zapped. The inspiration and excitement from the workshop experience or trip quickly fades.

Don't let it happen. Make time to paint. Make time to have some quiet reflection on the experience. Do it while the memories are fresh. Take advantage of the high to keep going.  When I return from a workshop or painting trip I follow the same routine:

'Ghost Ranch 2'              8x10         pastel         plein air   $150

• The week after arriving home, I schedule myself lightly if I can. The first day home is spent on unpacking, laundry, email and any catch up duties. I download my photos. I unpack and photograph my paintings. Catch up with family and love on my pets. I am the queen of multi-tasking so I can get it all done.

• In the evenings I review and often rewrite my workshop notes. If I do it right before bed I find I percolate on the notes in my sleep. I want to revisit the notes while the information is still fresh.

• By the second day home I make time to paint. I paint both from my photos and from the plein air studies done at the workshop. I do not touch my plein air paintings. I leave them as they are....fresh from the location. If one is unfinished, I start a new painting based upon the study. I want to have the visual reminder of my experience. I don't want to overwork it in the studio losing the emotion of the moment.

• I will try to devote at least a couple of weeks to the subject matter from the trip. I like to work with it while it is fresh and while I am excited about it. It only reinforces what I experienced on location.

Painting Notes:  The top painting was done in the studio from a contact sheet reference photo from Abiquiu. The bottom photo is the plein air field study from the same location. In the studio I had more time to develop the painting. I could study the cloud shapes at my leisure without them changing. The plein air study captured the light and colors of that moment. Both are on Uart paper with a value block-in with warm colors.

The Rewards of Turning Around

'No, You Go First!"              14 x 18          pastel             ©Karen Margulis
sold

The Southwest is calling.  I leave Friday for New Mexico and a mentoring workshop with Richard McKinley. Going back to one of my favorite places has me going down memory lane...or in this case US Highway 89.  I'd like to share my Raven story.

We were on the final leg of our three week tour of the Southwest.  We were driving from The North Rim of the Grand Canyon to our last stop of Sedona and dare I say we were a bit road weary. I sat in my spot in the back seat with my camera always on stand- by looking for arroyos.  I had discovered the art of looking ahead at a possible cut in the land, raising the camera and just shooting. It was hit or miss but it helped the miles go by faster.

Suddenly I saw something to shake me out of my hypnotic state. At least I thought I saw something. "Stop Holly! Turn Around!"  Out of the corner of my eye I saw a cropping of large red rocks with some black specks on top.  "I think I saw a bunch of Ravens!"  We had been on a raven watch for three weeks so this would be a find!  Holly willingly pulled over as soon as she could and turned around. As we retraced our route we all kept our eyes peeled for that rock with black spots.  Just as I started to think it had been a mirage we came upon the rock. It was actually a huge rock. And yes there were ravens perched on top.

But these were not just any ravens....they were baby ravens! And they were trying desperately to fly. We safely pulled off the road and sat in the car quietly watching. The three big fledglings took turns hopping up and down and flapping their wings. Every once in awhile one of the ravens would catch some air and hover over the rock before touching back down.

close up of the raven babies

We sat in awe for a good 30 minutes taking many photos with our super zoom cameras. It was a magical sight when one of the babies finally got the nerve to leave the rock and fly off. Soon the others followed and all was quiet once again.  We sat quiet as well. Afraid to speak lest we break the spell. "This is a moment that calls for some chocolate",  I said as I passed out the fudge I had been saving for a special time.  We got back on the highway and I once again took up my position as lookout. Always ready for the next magical sight....and always ready to turn around!

Painting Notes:  This painting is on Uart paper with Terry Ludwig and Diane Townsend pastels. There is no underpainting.

Overcoming Procrastination and Getting Stuff Done!

'Desert Homecoming'              8x10            pastel              ©Karen Margulis
available for purchase $100

 I have lists and notes to myself everywhere. There is so much I want to do. So many ideas to try. I usually am pretty good about moving forward and tackling my lists but sometimes everything seems to come to a screeching halt. Nothing gets done.

I read a great article this morning by Jack White on what kills an art career. It got me thinking. He suggests that too often artists don't have success because of procrastination. They may be afraid of failure or what others will think so they don't do anything. They don't even try. (read the whole article here)

This is true for many. I can also be a big procrastinator and it drives me nuts sometimes. But it isn't fear of failure or worrying about pleasing others that causes me to procrastinate.  For me it is a feeling of being overwhelmed that can stop me from moving forward.  Too many projects, ideas and piles of notes can be paralyzing. Instead of tackling things I do nothing. I waste time. I spend too much time on Facebook or reading the news as my pile grows larger.

Today I decided to try a new idea to help me stay focused and get things done.

My big ToDo board

It is a simple white board. A big one. I put it up on a spare easel so it is in clear view. I condensed all my little notes and lists and put down all of the things I needed to do on the board. In the past I have tried keeping lists and using organizer apps but they weren't visible enough. Too easy to ignore!  So far the white board has been a big nag......I can't ignore it. I have accomplished a few of the things I have been putting off and took great pleasure in erasing them from the board!

What do you do to help you overcome procrastination?

Painting notes: today's painting is on my homemade surface (details coming soon) with Terry Ludwog's arid landscape set.

Why Painting is Like Planning a Good Party....part one

'Red Rocks Rediscovered'             8x10              pastel             ©Karen Margulis
click here for purchase $100

A lot of thought goes into planning a good party. Where to have it, what to serve and most importantly, who to invite!  A painting is like that too. Lots of thought is needed for a successful outcome. Sure we can wing it....but having certain things under control makes it more enjoyable....both a party and a painting! 

When planning a painting I begin with the design. How will I compose my scene? What are my big shapes and how will I arrange them. Next I concentrate on the values of each shape. What is dark? Light? Medium?  And finally I worry about color. That is where the party planning really starts.

What colors should I invite to my Party?

the original plein air painting done at the first Plein Air Convention

 I will tell you my answer in tomorrow's post. But here is a clue and something to think about. Tomorrow I will introduce you to my friends...Mr. Red and Ms. Gray.  Have a look at the paintings on this page. The original was a plein air painting that had issues. Try to guess what the issues were and see how I tried to resolve them in the painting at the top of the page.  Be sure to visit my blog tomorrow for my answer!

Meet my two friend Mr. Red and Ms Gray!

An Idea for Painting the Sunset

'Sunset Series I'            5x7          plein air pastel           ©Karen Margulis
available for purchase $50

 We knew it would be a challenge. We were ready!  We already knew where we would set up. We arrived about 30 minutes before the sunset time. We wanted time to set up our easels and supplies and be ready for the dramatic light of the sunset.

How to best capture something as fleeting as the sunset en plein air....in real time as it unfolds?  We discussed it. Some of us wanted to get the main shapes and composition blocked in so that when the fireworks of the sunset began all would be necessary would be to capture the light and colors of the setting sun.

I decided on a different approach. I would paint the sunset in a series....as it unfolded. This way I would force myself to really observe and capture the subtle changes in the colors and light. I spent about 10 minutes on each painting. Working quickly prevented me from getting bogged down with details. I only wanted to capture the shift in colors. (the paintings are in the order they were finished and are all 5x7 except the last two)

After the sun went behind the mountains it was getting more difficult to see my pastels so these last paintings were done quickly but I had already warmed up!  I loved seeing the twinkling lights come on in the distance.
I am happy I chose to paint the sunset in a series of quick studies. It was a wonderful learning experience and since the sunset was a gentle and subtle rather than a dramatic fiery one, it was even more of a challenge.  I'd like to do this again!

All sunset paintings available in my Etsy shop. Click here to get a closer look.

Why We Need to Paint en Plein Air

'The Spirit is Calling' 8x10 plein air pastel ©Karen Margulis

painting available for $150 click here

I have seen the light! Never has the benefits of painting outdoors been so clear to me. There are so many lessons I learned at the 1st Annual Plein Air Convention. It was inspiring, informative, motivating and just fun to be around so many people with the same passion for painting that I have. I will be sharing some of the wonderful things I learned over the next week but I would like to begin with the most important lesson. Painting en plein air really does help you see better.

The term "plein air" (derived from the French, "open air") is used to describe painting that is done outdoors, directly from nature. Plein air painters seek to capture the varied, shifting effects of light and atmosphere on the landscape.

I have always enjoyed painting outdoors but I just didn't make enough time to go out. I figured my photos would be good enough. But I know now that if I really want to become a better painter, I need to paint outdoors more often. Here is why:

'Pine Creek Canyon' 5x7 plein air pastel

Photo of Pine Creek Overlook, Red Rock Conservation Area

Have a look at the paintings above and the photo I took of the same location. The paintings were both painted en plein air. When I look at the photo I am amazed at the difference between the photo and the paintings . It doesn't even look like the same place. Look at the colors and the light I was able to see when I was painting. Look at the variety of greens I can see in the foreground. In the photo everything is dark. I could lighten the photo but I would never be able to restore the colors that my eyes actually saw in real life!

You don't need to be an accomplished painter to benefit from painting outdoors. You don't even need fancy equipment. Quick and simple sketches will work as well. I plan on working outdoors more often and I offer you this challenge...put together a small plein air kit that you can keep ready and commit to painting at least one study from life every week. More is better but start with a manageable goal. Have a look at my post on making a cigar pastel box. Here are some of the benefits you can expect:

• You will see colors better including the subtle nuances that photos can't capture.
• Your paintings will have a better sensation of light. You will be able to see into the shadows instead of making dark holes.
• You will strengthen your powers of observation.
• You will get to know the landscape better and bring a deeper understanding to your studio paintings.
  
• Paintings plein air studies can also bring a freshness to your studio work.
  
• You learn to work quickly and efficiently so that you can capture the fleeting light. This leads to stronger paintings with less fussiness.

Are you convinced? Let me know if you decide to take on my challenge and we can encourage one another!

Advice for Flying with Pastels

'Taos Meadow View' 11x14 pastel ©Karen Margulis

Sold

Did you know a box of pastels looks like a box of bullets when x-rayed? Especially the neat and organized boxes where the pastels are all carefully lined up. I am packing my painting supplies in preparation for flying to Las Vegas for the Plein Air Convention next week. I want to make sure my pastels arrive safely and there are a few tips about pastels and air travel that I'd like to pass along.

1. I always carry on my pastel box. I make sure I can fit the box in my carry-on bag. I usually have a backpack and my box goes in it along with other essentials. I don't ever put pastels into checked luggage because I don't want to worry about them breaking due to rough handling and I want to be present if my box is opened by the TSA. I've had my box inspected many times and often the agent has no clue about how to open a box of pastels so they don't fall out or break (picture opening your box while it is on it's side... not flat... and all your beautiful pastels spilling out all over the table) If I am checking a bag I will put my easel and paper in the checked bag but I ALWAYS carry my pastels with me.
2. There is a good chance that when going through security, your box will be pulled for inspection. I have had my box inspected several times. They will want to open your box and it will help if you calmly explain that they are artist chalks and that the box needs to be opened when flat on the table. Whatever you do don't try to touch your box when it is being inspected. They don't like that! Yes, I tried to show them how to open a Heilman Box and it is a 'hands off' policy. It might help to tape a note to the box stating that the box holds artist's chalks and how the box should be opened. **allow extra time to go through security in case your box is pulled for inspection***
3. Put your box in a large zip-loc or plastic bag before you put it in your carry-on bag. No matter how gentle you are or how tightly your box closes, the jostling will create some pastel dust. A plastic bag will help keep your carry-on clean.

alcohol wash underpainting for 'Taos Meadow View'

Even though I have had my pastel box inspected several times, it always went quickly and once the agent opened the box and saw the pastels they were satisfied. I did have my box swabbed once but it was quickly cleared as well.
These are my tips from my personal experiences but if you would like to read more about traveling with pastels and other art supplies I recommend Katherine Tyrrell's blog post on her blog Making a Mark. She has a very comprehensive post on traveling with pastels and art supplies.

Today's painting is one of three variation on a painting of the same meadow in Taos. You can read about my painting planning process for these variations HERE

How to Make Your Own Pastel Plein Air Box

'Riding Through the Sage' 5x7 pastel ©Karen Margulis

purchase painting here $65

When I want to travel light a cigar box makes the perfect box for my pastels. I have shared a few of my cigar pastel boxes on the blog but I have had requests for more specific directions for making the boxes. Let me start by saying this is just a very simple box for pastels. I have friends who have made small pochade boxes for pastels which include a support and a place for paper....truly an all in one solution. I will be sharing directions for these boxes in a future post.

I love making these little boxes. They are so easy and inexpensive that I have several in use. I have a few boxes that store some of my favorite sets. When I am looking for a challenge, I will take out one of these boxes and paint exclusively with the colors in the box. When I am making a box for a plein air trip I will fill it with pastels that I think will suit the landscape I will be painting. I have been testing my new Southwest plein air box this week in preparation for the Plein Air Convention in Las Vegas. Today's little painting was painted with this SW box on Pastelmat.

The Making of a Plein Air Pastel Box

Here are the supplies needed to make a box:

1. Cigar Box. I look for a lightweight wooden box that is not too thick. This box is 12 x 8 x 2.5 which is perfect. If you scour second hand shops you can find cigar boxes and other boxes that can be used. You can also find cigar boxes at your local cigar shop. Many times they will sell you empty boxes or even give them away. I did a search on ebay for empty cigar boxes and found a big selection.
2. Foam: I use a square of Poly Foam that I get at Hobby Lobby. You can get a 1" x 14" x 14" square for $2.99. Any fabric store should carry the foam. 1" is the perfect thickness. You need enough for the bottom and inside the lid of your box.
3. Glue: Any craft glue will work. I use Elmer's Craft Glue.
4. Brass Hardware Catch: This is optional but for security I like to replace the flimsy cigar box catch with a more substantial catch. You can get these at any hardware store. I found mine at Big Lots!

All you do is measure the foam to fit snugly in the bottom of the box. Cut with exacto knife or scissors and glue into place. For the lid I cut the foam about 1/8-1/4" smaller than the lid so that the lid will close. Test it before you glue the foam in place. Let glue dry. Replace catch and fill the box with pastels!

If you want to get creative you can decorate your box. I am thinking of putting stickers from my trip on my box. It would be fun to collage or paint the box too!

My finished cigar plein air box that I have filled with Terry Ludwig's Arid Landscape set and a variety of other colors I think I might need for the Southwestern Landscape. I will also be bringing a smaller wooden box that I fill with Nupastels and Giraults which will help round out the set in case I find I am lacking something.

Capturing the Colors of the Southwest ...Pastel Demo

'John Wayne Country' 8x10 pastel ©Karen Margulis

purchase painting with paypal or check HERE $125

The landscape of the Southwest is calling to me! I am so glad that I decided to attend the 1st Annual Plein Air Convention in Las Vegas. In two weeks I will have an opportunity to paint in Red Rock Canyon and I can't wait. Not to mention all of the wonderful artists who will be there...both the instructors and the attendees.

I am working this week on desert landscapes so I can test my pastel box of colors that I plan to bring. Yesterday I did a painting that depicts the red rocks with intense late afternoon light. I was going for the glow on the rocks. You can see the painting HERE. For today's painting I wanted to capture the more subtle colors of the desert. I did need to add a couple of new colors to my box so I am glad I am testing this week!

Mini Demo of 'John Wayne Country'

I chose a photo from a trip I took to Moab, Utah. We went on a horseback ride in an area that many old Westerns were filmed. I had my camera on the ride and just kept shooting the wonderful desert landscape. Read on to see my thoughts on developing this pastel.

1. (from left) I worked from a reference photo on my new ipad.(love this way of working) I first did a small thumbnail/value study. I am working on Uart paper.
   
2. I am also bringing a small box of Nupastels so from this box I chose some colors to block in my big shapes. I am planning on doing an alcohol wash underpainting. See more about alcohol washes in this post. I chose colors that are bolder and darker than I want my painting to be. I can always tone things down but it is harder to bring back boldness.
3. The alcohol has been brushed into the pastel with a stiff bristle brush. Notice the cool drips!
4. Once the alcohol wash has dried I am now ready to work with my softer pastels. I start by reinforcing the dark areas but applying 2-3 layers of dark values.
5. Once the darks are established I work on the light areas....in this painting it was the sky. I applied a few layers of blues all of similar values so I could have an interesting sky.
6. Now that the darks and lights are established I choose to work from top to bottom so I work on the distant cliffs and work my way down to the bushes in the foreground. I really wanted to make sure my pastel set had the right greens for the Southwestern plants and I was happy with my selection.
7. The next step is to refine the painting and add details where needed. I decided that the colors of the sand and the distant cliffs were still more intense than I wanted so I scumbled some blues and cooler sand colors over the cliffs and sand to tone them down. The result is a different feeling to a similar landscape from yesterday's red rock painting. It was a good test of my pastel box.
   

Why an Ipad is a Great Tool for Artists

'Red Rocks are Calling' 8x10 pastel ©Karen Margulis

purchase painting HERE paypal or check $125

I did it. I got the new Ipad. Of course I justified it by thinking up a list of ways the ipad can help me with art. Today I put it to the test by using the ipad and it's beautiful display screen to show my reference photo as I painted. I was very happy with how well it worked. The photo was bright and clear and the image was full of light....so much nicer than a photo printed on paper. I placed the ipad on a stand in front of my easel so it was if I was painting plein air and looking at the scene in front of me.

My reference photo shown on my new ipad

There are many ways to get reference photos on the ipad. You can save images you find online from copyright-free sources such as the Wet Canvas Image Library. You can add your own photos to the photo app. And if you have an ipad 2 or the newest ipad you can take a photo with the built in camera. A friend who just returned from a plein air pastel workshop told me that on a rainy afternoon everyone worked inside painting from their ipads. Many had snapped photos on their ipads before the rain started.

My Southwest Plein air Pastel Box

Today's painting is a scene from the Red Rock Canyon National Conservation Area. In two weeks I will be heading to Las Vegas for the 1st Annual Plein Air Convention. Here is a excerpt from their website:
"The Plein Air Convention & Expo in the Red Rock's of Nevada promises to be a historical part of today's plein air movement as hundreds of painters gather to learn, paint, visit with friends, fine tune their skills, and mingle with the top painters in the world."
Even though this is a plein air convention I wanted to travel light and I have pared down my supplies. Instead of bringing my Heilman box of pastels I put together my own set. It consists of my favorite Terry Ludwig Arid Landscape set along with some other colors that I think I might use such as more blues and oranges. I did today's painting with just this set and it seemed right. I will do a few more desert scenes before I go and tweak the set if necessary.

Using the ipad as a reference photo viewer is just one way an artist can benefit from an ipad. I am compiling a list for a future post so if you have an ipad use for artists you'd like to share just comment below!

Here's a Quick Way to Plan Your Next Painting

'The Spirit Calls' 8x10 pastel ©Karen Margulis

purchase painting with paypal or check $125

Take time to plan your painting! If you are an artist I'm sure you have heard this before. Not everyone agrees with it. Some artists like to be more spontaneous and feel that planning ahead of time takes away from the inspiration and excitement for the subject. I like to be spontaneous and play at times but I also appreciate how having a plan can help me avoid a lot of the problems that can crop up as I paint. Spending time doing some planning before picking up a pastel allows me to get the thinking part of painting out of the way so I can respond more intuitively when I am painting. Having a direction for your painting helps you make good decisions and makes it easier to solve any problems. As Richard McKinley said at a lecture I attended "If you don't know WHY then you won't know WHAT". So how can we make it quick and easy to put in some planning time?

Some of My Painting Plan Worksheets ©Karen Margulis

I like worksheets. I like things to be simple and clear. And I found I would forget everything I should think about when making a painting plan. So I developed a worksheet to do before I start a studio painting. It takes me less than 20 minutes to do the worksheet and when I am finished I have plans for 5 potential paintings. Here is what I include in my worksheet

• A place for you to verbalize your concept for the painting. Why you want to paint this scene
• Working title
• Thumbnail possibility sketches...landscape, portrait, square, long and narrow.
• Value maps (notans)
• Evaluation questions such as focal area and design.
• An area for a small color study
• A place for extra notes.
  

Paintings completed from a Planning Worksheet

One of the great things that comes from doing the planning worksheet is that you can avoid the problem of having too much going on in one painting. You have plans for several paintings and you can easily do a series based upon your thumbnail sketches. In the above photo you can see that I came up with three variations of this Taos desert scene. I tried different papers, formats, compositions and underpaintings to give each painting a different feel.

Double the Liveliness of a Painting with this Color Scheme

'Paint the Desert with Purple' 8x10 pastel ©Karen Margulis

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Yes this cactus really does exist. It is a Purple Prickly Pear Cactus and I saw them in Albuquerque, New Mexico last summer. I have been wanting to paint them and needed a way to do them justice. So I consulted my color wheel and decided to focus on the contrast of the complementary colors.

All colors are the friends of their neighbors and the lovers of their opposites. Marc Chagall

A common color scheme to use in a painting is the Complementary Scheme. It is known that using complementary colors next to one another makes them appear more intense. It is also psychologically satisfying for the viewer to see the complementary pairs together. But often we only think of the Primary color pairs of Red & Green, Blue & Orange and Yellow & Purple.

Consulting my Color Wheel

Don't limit yourself to just these common complementary pairs. Look at their neighbors on the color wheel. How about a red-violet and yellow-green pair or blue-violet and yellow-orange pair? I knew the red-violet/yellow-green pair would be perfect for my cactus. I decided to do an underpainting with watercolor using the complements of the final colors. To simplify, I painted anything that would be in the purple family yellow-green and anything that would be yellow was red-violet in the underpainting.

Using a Complementary Underpainting of Red-Violet and Yellow-Green

For the pastel application I decided to kick it up a notch and use a Double Complementary Color Scheme. Using two color neighbors Violet and Red-Violet and their complements yellow and yellow-green adds more variety and even more balance, liveliness and satisfaction than if I only used one complementary pair. So if you like to use compliments in your work think about inviting the neighbors!
Read more about using complementary colors in an underpainting HERE

The Secret to Making Fine Lines with Pastels

'Chasing the Desert Sun' 8x10 pastel ©Karen Margulis  sold

Sometimes less is more. Sometimes you need to take something away rather than add some more. And so it is when painting things that have fine lines such as grasses and branches. One of the first things a beginning pastel artist usually wants to know is how to make the fat pastel sticks make delicate fine lines. It actually is possible with the right touch and technique and I will share that in another post. There is another technique for creating fine lines and it involves an aluminum push pin!

The Secret is a Moore's Aluminum Push Pin

I was introduced to this technique by Stan Sperlak, a wonderful artist and instructor. The sharp point of the aluminum pin can be used to scrape away thin areas of pastel. (see photo) The trick is to build up several layers of pastel before you use the pin. It is very much like doing scratch art.

• You can get dark lines or light lines depending on your color layers.
• Softer pastels work best.
• Vary the pressure of the pin to get the most natural look.
• Use the pin to remove pastel to make sky holes
• Use the pin to straighten horizons by removing tiny bits of pastel at a time.

Just remember that less is more. Just as drawing too many lines for grasses can make them look overdone, using the 'pin' technique everywhere in a painting can be too much. But it is a nice subtle way to make fine lines when they are needed.
To read more about Stan and my workshop review see my post HERE. You can visit Stan's website HERE.
The Moore's Aluminum Push pins are available at Blick's I get the longest ones.

An Exciting Choice for Underpainting Colors

'Winter Solitude" 11x14 ©Karen Margulis

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I love playing with Complementary colors. When deciding on what colors to use in an underpainting I often turn to using complimentary pairs. In yesterday's post I talked about using local colors to set up aerial perspective in a painting. Using complements in the underpainting can lead to a more exciting and interesting painting.

"An artist finds his happiest combination in the play of complimentary colors. They are direct contrasts yet do not jar; they awaken the beholder,but do not disturb him." Charles Burchfield

watercolor underpainting in complimentary colors on Diane Townsend paper

Tips for Using Compliments in an Underpainting

• Use a color wheel to find the compliments if needed. Complimentary colors are colors that are direct opposites on the color wheel. They enhance one another when placed next to each other and neutralize each other or make grey when mixed together.
• Simplify your reference and look at the big masses of color. Choose the opposite color to paint the mass. In my example, I wanted my sky to be lavender so I used yellow (the compliment) in the underpainting. I wanted the cliffs to be golden yellow so I used purples for the underpainting.
  
• For a pastel painting you can underpaint with any medium including pastel. I am using watercolor in this demo.
• In your underpainting you can use different values of your color. I used 2 values of yellow for the sky.
  

Watercolor underpainting with my first pastel marks...blocking in the darks and the sky.

Are you intrigued with the possibilities of using compliments? I will be sharing more ideas for complimentary pairs later this week. Join me in playing with compliments this week!

Today's painting is from a reference photo I took one winter in the Book Cliffs area outside of Moab, Utah. I loved the warm yellows of the cliffs and dried chamisa against the cold snow.