A New Mounted Surface from UART!

'Dancing with the Stars'            9x12           pastel          ©Karen Margulis
available $165

It was perfect timing! My new Uart boards arrived on the same day that Uart announced this great new product. Of course I had to drop everything and try the new board. Working on this surface was a pleasure and I am looking forward to using them more often!

side view of the new Uart Premium Mounted Boards

What are they? Here is some information from the Uart website:

 "UART’s newest mounted boards are made from a strong PVC material that is the perfect solution for plein air artists or artists alike that are looking for the convenience of UART’s sanded pastel paper pre-mounted on what we believe is the most durable and dent resistant board on the market.

UART’s borderless mounted boards are only 1/8” thick and lightweight making it the right choice for artists on the go. Each board is mounted to the edge with UART Premium Sanded Pastel Paper allowing a consistent texture every time for pastel, charcoal and pencil, and is pH neutral, acid free and capable of handling any type of wet media including watercolor, alcohol and oil washes.

Premium Mounted Boards – (all sizes in inches)

• 9 x 12
• 12 x 16
• 18 x 24

Available in different grades ensuring you can create with confidence, knowing that your paper has the same grade from corner to corner every time you sketch or paint.
Grades: • 240 • 280 • 320 • 400 • 500 • 600 • 800"

wet wash with oil paint and turpenoid

 So how did the boards perform? Here are my thoughts:

• The most important thing to me is that the mounted Uart paper perform exactly like the unmounted paper. The new board passed this test with flying colors! I depend on the consistent nature of the paper and found that sometimes mounted paper doesn't always perform in the way that I expect. Not so with the new premium mounted boards. The pastel went on the same way it does on unmounted boards. No strange texture was present and I was able to layer as usual.

• I put the board to the test using a wet a drippy wash with oil paint and turpenoid. It was a complete joy to do the wash without worry of buckling or bumpy paper. The board took all of this wet abuse and held up beautifully.

• I didn't count but I was able to get quite a few layers on the board even with the oil stain. I used some very soft pastels including some super soft Senneliers. I still didn't fill the tooth of the paper.

• I had fun with scraping pastel with a pin. The firm surface of the board allowed me to scrape without any issues.

• I love that the paper is flush with the edges of the board. I always paint to the edges of my paper so I don't like having a border. I still taped the board to a bigger piece of foamcore using white artist tape hinges. This allowed me to paint to the edges with out the easel getting in the way.

• The board is very lightweight which will make it good for travel and plein air excursions. I like that each board is individually packaged in a resealable clear bag. This bag will come in handy to carry a finished painting home from a trip or from workshops and classes.

close up detail

OK I'm convinced! Where can I get the new boards?

They are available online at Blicks and Fine Art Store. Here are the links:
http://www.dickblick.com/.../uart-premium-sanded-pastel.../ & and Rochester: http://www.fineartstore.com/p-11314-uart-premium-mounted...

Trying a New Pastel...Review!

'A Quiet Interlude'         8x10        pastel       ©Karen Margulis
available $150

I love trying new art supplies! Especially new pastels. This summer I had the most amazing experience teaching a workshop in Croatia. You can visit the July archives of my blog for more on this wonderful trip. While I was there my host Mario gave me a few pastels made by an artist in Croatia. I packed them carefully in my suitcase and waited until the right time to give them a try. 

Today was the day!  I had just 5 colors in my selection but I knew they would be perfect for the scene I had in mind. They were the perfect colors for a foggy autumn day along the California coast which was the subject of my photo.

I am so glad I gave these pastels a try. The are wonderful! They are soft and buttery and not at all crumbly. I had no trouble layering them and they mixed wonderfully with my Terry Ludwig pastels. They did great in the early layers and with more pressure they were perfect for some nice juicy finishing marks!  I will definitely look into getting more of these pastels.

(I have contacted Gordan for information on ordering. I see he has a Facebook page. I will report back when I get more information for you)

My samples of Gordan Becin's handmade pastels from Croatia

The underpainting done with Inktense sticks and water

close up

Another Option for Toning Sanded Pastel Paper

'Feel This Moment'         18x24             pastel         ©Karen Margulis
click here to purchase $450

It is time to tone some more paper. I love Uart sanded pastel paper but I prefer a middle value gray-brown paper for my quick landscape studies.  I like the way the color looks when it peeks through my pastel layers. It is not at all distracting so I don't have to do any kind of underpainting. I can just pick up my softest pastels and quickly respond to the scene in front of me. Back in the day my go-to paper for plein air studies was Wallis Belgian Mist. I had to find a replacement when it was no longer available and I have several ways I like to tone my Uart paper. I shared one option in last week's blog post. Here is another option:

My Belgian Mist substitute

One of my students came up with the idea of using her used pastel dust to tone Uart sanded paper. She saves her dust and made a pastel with it. It was a nice warm neutral gray similar to the belgian mist tone. I didn't get a photo of her sample but I do have a jar of collected dust so I will try my own.

In the meantime I decided I would mix some acrylic paint to match belgian mist and use it very thinly to tone some sanded paper. Before I got around to that I happened to be in Home Depot and found a small sample jar of 'oops' paint...samples that were rejected. It was very close to the color I wanted and best of all it was only 50 cents!  I toned a piece of Uart 240 grit....I found it to be the closet mach to the Wallis grittiness.

Result: It was slightly lighter when dry and also a bit warmer than the belgian mist. But I liked it. I put it to the test with a large painting 18x24 (see top)  I loved it!  I didn't do any kind of underpainting or block in for the painting. I just went right in with my soft pastels ( a mix of Terry Ludwig and Diane Townsend)  You can see places where it peeks through and I like the effect. 

UPDATE: Since I originally wrote this post I have discovered another good paint for toning paper. It is Atelier Interactive acrylic paint  in Toning Grey Yellow. Be sure you thin any acrylic paint so that it doesn't fill the tooth of the paper.

One Option for Toning Sanded Pastel Paper

'Autumn in the Park'          5x7      pastel        ©Karen Margulis
available $75

Sometimes I just don't want to think. I don't want to think about underpainting colors or the best way to start a painting. Sometimes I just want to paint directly....no underpainting. No thinking.  I find that a middle value paper makes the best choice for these times. A nice warm toned paper allows me to paint directly without worrying about covering up a light or white paper.

I find that the light bits peeking through my layers can be distracting and a mid value toned paper helps me avoid the light bits!  If bits and pieces of the middle value tone peek through it is more pleasing. In fact it can unify and harmonize the painting.

Of course we can buy colored pastel paper and I do. But sometimes I want to use my favorite paper Uart, but I want it to be a middle value. Now I can!  

Art Graf pigment square....unusual and amazing!

Option One: Art Graf Pigment Squares
I was introduced to this new product at the last IAPS convention. My friend found them at the trade show and insisted that I have a look. I am glad I did and I am glad I bought the set.  These squares of rich water-soluble pigment create a most wonderful toned paper. And a little bit goes a long way!

They are thin square shapes like tailor's chalk only they are not chalk. They are not pastel either. In fact they feel a bit waxy. But they work like a dream to tone paper. Read more about them here:

http://globalartmaterials.com/artgraf.php

http://www.amazon.com/Artgraf-Water-Soluble-Earthtone-6-Color/dp/B00V3L1JOQ

It takes very little pigment to create a rich tone.  I tested all 6 colors on Uart sanded paper. I used the side of the Art-Graf to color the paper....lightly!  A brush and some water is needed to liquify and spread the pigment. It took some practice to figure out the right amount of water. More water equals a lighter tone. I got some drips and bubbles on some of mine because I was impatient. I liked the effect though!

I even mixed more than one bock on the same paper to make a custom color.  It was great fun and I loved the results.

 How does pastel react to the toned paper? I am happy to say that it was a great marriage. The pastel responded perfectly. The painting at the top of the post is on the sepia toned paper.  The pigment of the Art Graf did not fill the tooth of the paper. I am thrilled!  I am looking forward to using them to tone paper for my upcoming plein air workshops!

Today's painting was done on a tined piece of art paper

Tomorrow I will share another option for toning sanded pastel paper.

Tips for Working with Yellow Pastels

'Canyon Color'          11x14       pastel         ©Karen Margulis
available $175

As if you needed another reason to add to your pastel collection!  How about Chamisa in bloom?  Can you tell I am enjoying my new Terry Ludwig set of Stunning Yellows? I always enjoyed using yellow. I like a lot of yellow subjects....flowers, sand, sky, sunlight!  But I always found yellow a challenging color to work with in pastel. I found it difficult to get it bright and sunny enough! I have some tips below but I have to say that this set of pastels is making the job easier!

Terry Ludwig's Stunning Yellows

Tips for working with Yellow

• Start with orange. When building up a mass of yellow begin with darker values if possible. I like to start with the orange family then gradually build to the lightest and brightest yellows.

• Use violets. Using the complement of yellow which is violet will help the yellows be more visually exciting. Surround yellows with violets (all kinds) or place them side by side for more interesting yellows.

• Go darker. If your yellows don't seem bright enough try surrounding them with a darker value color. It will be like turning the lights on in a dark room!

• Warm and cool. It helps to have a variety of warm orangey yellows and cooler lemon yellows in a mass of yellow.

• Use Shouting marks. When you really want your yellow to stand out....press harder. A few hard edged marks will contrast nicely with softer marks. These shouting marks will stand out!

2.5 x 3.5 color study

"For most people, yellow is a happy color. It generally energizes, relieves depression, improves memory and stimulates appetite."  Shirley Williams

Read more about yellow from Shirley on her color website here

close up of the chamisa details

TIP: Consider splitting a set of pastels with a friend. It is easy enough to cut the pastels in half. International reader....Terry Ludwig ships internationally. Sharing with a friend will help with the shipping cost!

FAQ: Choosing Pastel Paper

'Into the Woods'      5x7         pastel on Uart       ©Karen Margulis
sold

It really is a great question. If we have been painting with pastels for awhile we may take for granted all of the choices we make without much thought. Take paper for example. We are fortunate to have so many wonderful papers and supports to use for pastels. We tend to find our favorites and with experience we know when one surface suits the painting project.

But when we are new to pastels everything is a mystery! How many pastels do we need? What is a good set to buy? What about paper? What is the difference between sanded and unsanded paper? There are many questions and today's post is inspired by a question I received today.

"How do you decide when to use Uart and when to use MiTeintes?"

I had not really given that much thought. The choice has become so automatic. It is a great question for those new to the medium. Here are my thoughts....

alcohol wash underpainting on Uart sanded paper

Paper choice often depends on both the idea I have for the painting and my mood. I love most papers for different reasons but I do tend to use Uart and Canson MT the most and I will use them interchangeably most of the time.

• If I am planning to do any kind of wet underpainting however I will use Uart sanded paper in 400 or 500 grit. Canson MT does not take a wet wash and is not as sturdy as Uart. 
• If I want to try anything experimental such as adding texture with gesso and pumice or maybe experimenting with inks...I will choose Uart. It is versatile and stands up to abuse.
• If I want to paint something quick and don't want to do an underpainting or tone paper I will choose Canson MT. I like that it comes in so many colors. I do prefer the smooth side and like to use the gray tones.

Note: Like may other artists I didn't like Canson MT when I was new to pastels. I found it unforgiving. Looking back I was using harder pastels which didn't give me the soft juicy look I admired. It really wasn't the paper...It was my pastels and my inexperience.

'Out of the Woods'        6x6        pastel on Canson Mi-Teintes paper        available $50

Bumpy or Smooth? A Side by Side Demo on Canson

'Summer Fields are Calling'       5x7      pastel      ©Karen Margulis
available $75

 I am back to daily painting practice. I am going to give myself assignments for each painting. It is part of my focused practice which I will be sharing more about in the coming weeks.  Today's assignment: Paint on both the smooth and bumpy side of Canson to compare and contrast. I decided to paint the same scene with the same pastels for a better comparison.

As much as I love sanded papers I am equally drawn to unsanded surfaces such as Canson. Every once in awhile I just like to paint directly with soft pastels with no underpainting. It is enjoyable. In fact the painting that just was awarded an exceptional merit award was done on Canson with no real underpainting.

'Summer Fields 2'       $75

Many artists don't enjoy working on Canson. They either don't like the textured bumpy side or feel they can't get enough layers.  I have written about tips for having success on Canson. (search my blog for canson articles) So today I decided to do a side by side mini demo on both the smooth side and the bumpy side of Canson Mi-Teintes paper. I hope you enjoy!

The bumpy side is the painting on the left. The smooth side is the right. The textured side is considered the correct side but many don't enjoy the regular texture. You can click on any photo to enlarge and see a close up.

I blocked in each painting with soft pastels using 4 values of violet. I then rubbed in the pastel with a piece of pipe insulation foam. It was especially helpful on the bumpy paper.

Reinforcing the dark areas  and painting the sky with a few different pale blues and a light pink at the horizon.

Beginning to add the green on top of the violets. I had to use a light touch so I could get enough layers on this unsanded paper. I don't really notice much difference in how many layers each side of the paper will take. It feels similar.

I sprayed the bottom half of the paintings with workable fixative so I could darken the foreground and get a feeling of texture over the dark areas.

I lightly applied some golds and greens over the 'fixed' areas. The bumpy side definitely gives a feeling of more texture although some feel it is too regular and mechanical. Click to enlarge.

Finally I added the finishing touches....the flowers and a few blades of grass. The flowers are are not planted randomly. They are placed deliberately where they will help move the viewer's eye through the painting.

Which version do you prefer? Answer in the comment section. 

Can Pastel Premier Paper Take an Alcohol Wash? My Experiment

'Contemplation'          8x10         pastel         ©Karen Margulis
available $145

It was a great question. A Facebook friend wanted my opinion on Pastel Premier sanded paper. She also brought up the question of using an alcohol wash on the paper. I have used Pastel Premier and was sure I had done an alcohol wash on it. In fact I had no idea that there was an issue with it.

So I decided to find out. First I looked up the specs on Pastel Premier. Here is what is said about the paper on Dakota Art Pastels:

Pastel Premier - a new Archival Quality paper for the pastel artist! Made in the USA, Pastel Premier is produced on 100% cotton, acid-free paper. Made exclusively for Pastel Premier, the unique surface is created by double priming the 100% cotton base paper, then coating with an aluminum oxide abrasive. This produces an ideal, evenly coated surface for pastel painting. A final seal layer is applied to the primed and abrasive coated sheet to make the surface extremely durable and able to withstand almost any measure of scrubbing and reworking. The paper works with a wide range of wet media including water, mineral spirits, and alcohol (heavy use of alcohol NOT recommended - may soften surface) for under-painting. 

Pastel Premier is available in two surfaces:
X-Fine (600 grit) - a smoother, finer surface in White only
Medium (320-400 grit) - toothy, aggressive surface in 5 colors

Pastel Premier comes in White, Buff, Italian Clay (warm neutral gray), Terracotta, and Slate (dark, cool gray).

So alcohol can be used...just not a heavy application. Next I needed to try it for myself. How much alcohol could the paper take?

I took out a piece of white Pastel Premier. This paper is great for watercolor underpaintings so I wanted to see how alcohol would react to the paper. I used 70% isopropyl alcohol. I never use 90% or denatured alcohol.

I was very liberal with my washes. The alcohol was allowed to drip. I used as much alcohol as I normally do. I didn't worry about using too much. The paper was fine. There as no change in the grittiness and the grit didn't come off. I was feeling really good about it.

Then I went back over a wet area with more alcohol. This is when I noticed that the grit in this area was starting to move or soften.  I stopped and let the underpainting dry.

close up of the alcohol wash

starting to add pastel

 There was a slight wave to the paper but after 30 minutes under a heavy book it was perfectly flat. I use paper unmounted. The pastel went on with no noticeable change in the feeling of the grit. I was able to get as many layers as I needed to finish the painting.

My conclusion after this experiment... I wouldn't hesitate to use an alcohol wash on Pastel Premier. However I would not try to rewet areas or go back and add more alcohol to an area. It is safe to say that the paper accepts a light alcohol wash....which is plenty to create an interesting and effective underpainting. (I also did the same underpainting on Uart and I will report on that in an upcoming post)

Revisiting Diane Townsend Metallic Pastels

'Magic at the Ranch'        12 x 12      pastel        ©Karen Margulis
sold

Are you looking to spice up your pastel paintings? There is nothing like a little sparkle to to spice up an otherwise dull painting.  Metallic, iridescent, pearlescent are the names given to these pastels. It depends on the manufacturer.  I recently rediscovered my set of Diane Townsend Metallic soft form pastels. I say rediscovered because they were lost in my studio and found during my studio clean up.

I haven't used these pastels in awhile but decided to use them for an experimental underpainting. I had an old unfinished painting from a trip to Grand Teton National Park. I had done a gouache underpainting. I added a layer of metallic pastels and sprayed some workable fixative.

close up of the metallic pastel layer

I worked some Terry Ludwig pastels over the metallic layer and the result is a subtle glow which was hard to capture in a photo. I then remembered some other experiments I did with the metallic and water. I will have to try more of these!

'Golden Dreams'      5x7     pastel         ©Karen Margulis 

The painting 'Golden Dreams' was done completely with the set of metallic pastels. I put down a layer of several of the colors and sprayed the painting with water.  I was curious to see how the metallic pigment would react to the water.  I wasn't disappointed.  Some of the colors rose to the top of the puddles and swirled like an oil slick. I tilted the board slightly and let some of the wet pastel drip. I let it dry.  You can see the sparkle of the gold and copper pastels.  

Diane Townsend Metallic set of 12 pastels

• I LOVE Diane Townsend pastels Her soft form pastels are some of my favorites. These metallics are no exception. They are so rich and beautiful.
• The metallic pastels are extremely soft and buttery. They go on like velvet. You need to use an VERY light touch. A little bit goes a long way. They are so soft that they crumble easily. (see photo) If you press down too hard they crumble right in your hand. Of course I am saving all of the pieces to reconstitute someday.
• I now know to use a very light touch but for the pastels that have already crumbled I will use them in other ways....sprinkle dust, apply with soft tools like pan pastels....No pastel dust will go to waste!
• I love the rich metallic colors and will try to use them as spices or accents in a painting rather than for the entire painting.
• I haven't tried to use them for an underpainting with an alcohol wash but since it just occurred to be I will have to try and report back!

Do you like to use metallic or iridescent pastels? Do you have a favorite way of using them? I'd love to hear from you!

Diane Townsend pastels are available from several sources online including Blicks.

http://www.townsendpastels.com

Is the Right Side Wrong? Exploring Pastel Paper

'Making Tracks'         9x12         pastel           ©Karen Margulis

I'm taking a poll. What side of Canson Mi-Teintes paper do you prefer?  Answer in the comments if you'd like to share. I am curious to see what most artists prefer.  If you aren't familiar with Canson there is a bumpy side with a honey comb-like texture and a smooth side. Officially the bumpy side is considered the right side or the painting side. If you purchase Canson by the sheet the label is on the smooth side which is considered the back.

Can you tell what side of the paper I used for today's painting of my granddaughter Greta?

The front bumpy side is on the left and the smooth or back side is the back. See the difference in the way the pastel looks?

Here is another poll question: How many times have you started a painting only to discover you were using the bumpy side?  Most artists I know prefer  working on the smooth side of the paper. It is challenging to fight the bumpy texture. I usually work on the smooth side.

So imagine my surprise when I began applying pastel to my painting of Greta. It was the bumpy side! How did I manage to do that! I am usually very careful but in my excitement to start the painting I didn't check.  I had a decision to make. Should I turn the paper over and start again?  I really didn't want to because I had already done the drawing. Usually that wouldn't stop me. It is much easier to start over at an early stage of a painting.  But  this time I had a 'what if' moment and decided to see what would happen if I continued on the bumpy side.

I was working on black paper which really enhanced the look of the texture. The little bits of black paper that resisted the pastel became the glue that held the painting together.  They also broke up the large white areas of snow making it more interesting.  So maybe the right side of the paper isn't the wrong side after all!

Try Something Different for Pastel Underpaintings

'Simple Pleasures'         8x10       pastel        ©Karen Margulis
available $150

 I met an artist with a fantastic goal. He'd made a list of every medium. He was going down the list creating a piece of art in each medium. I love this idea but it got me thinking. How many different mediums can we use for underpaintings for pastels? Most of us are familiar with the usual underpainting choices....watercolor and alcohol and pastel. But we have so many other options.

I love to experiment so when I am restocking my supplies I always look for something new to try for underpaintings. My latest purchase were some Intense Blocks by Derwent. Intense products are not new but I have not yet used them for underpaintings so I purchased three blocks to give them a try.

Derwent Inktense Blocks

 They are called Intense Blocks although they are the same size and shape as NuPastels. They come in pencil form or sticks in 72 colors. Here is some information from Derwent:

Watercolour Inktense blocks combine the brilliant colours of Inktense pencils with the freedom of blocks making it easy to cover large areas really quickly. You can use these watercolour blocks dry or add water to create deep, intense colour washes. Once dry Inktense becomes permanent and you can work over the top of it so it great for layering and for use on silk and cotton!

Experimenting with three sticks and some water

I selected three darks...purple, blue and black. In a previous experiment I tried black Sharpie marker for value based underpaintings. I loved the effect but I wanted something archival. I wanted to try ink but then found these Intense sticks. They would be easier to use and more portable!

I tried the three colors  on a piece of Uart paper. I liked the richness of the ink once it was wet. Pressing harder created darker values.  Adding more water created lighter value washes.
I used a brush and water to create the ink washes. I also went back into the wet washed with the sticks to create lines. I liked the effect of the wash and I even got a few interesting drips!

The underpainting with the Intense wash

The key to any underpainting is how well the pastel can be layered on top. I found the inktense blocks did not fill the tooth of my sanded paper so I was able to paint without any noticeable change in paper texture. I got plenty of layers and even was able to brush out and repaint the foreground.(another story!)

I am intrigued by the possibilities of the Intense blocks and I will definitely try some of the other colors. I can see using them instead of hard pastels and water or alcohol wash. 

If you are also intrigued check out this Pinterest page devoted to the Intense products. There are many possibilities!

I used Richard McKinley's set of Terry Ludwig pastels exclusively for this painting.

QUESTION OF THE DAY:
I am making a list of media we can use for pastel underpaintings. Help me and share your ideas in the comments.