28
Page 1 Winter 2017/18 Winter 2017/18 November ‘ Get Dusty ’ Winners
Page 1 Winter 2017/18
Winter 2017/18
November ‘Get Dusty’ Winners
Page 2 Winter 2017/18
THE PASTEL SCRIBBLER
Winter 2017/2018
Contents
Page 3 Letter from The Pastel Scribbler Editor Susan Corcoran
Page 4 - 6 ‘Get Dusty’ September winners
Page 7 Feature & Gallery - our ‘Get Dusty’ September Guest Judge Claude Carvin
Page 8 - 10 ‘Get Dusty’ October winners
Page 11 ‘Best of Get Dusty’ Winner
Page 12 - 14 ‘Get Dusty’ November winners
Page 15 - 17 A Wildlife Masterclass with Eric Wilson by Dolores Saul
Page 18 ‘Get Dusty’ Competition schedule and rules
Page 19 Our new sponsor feature, Sprouts winner
Page 20- 21 Creativeworld Trade Fair by Dolores Saul
Page 22 - 24 ‘Get Dusty’ Winter winners
Page 26 - 28 New members
Page 3 Winter 2017/18
The Pastel Scribbler Team Editor: Susan Corcoran
Writing and Proofreading:
Dorothea Schulz
Translation: Dorothea Schulz
Contact: [email protected]
Website: www.pastelguild.org
Note - The Pastel Scribbler is intended for reading on screen. Copyright © 2017 PastelGuild rf and included artists, all rights reserved
From the Editor of The Pastel Scribbler . . .
Membership Levels For all details of membership levels
of PGE, please go to the website:
www.pastelguild.org where you will
also find all the current news, compe-
tition entries and results
Page 4 Winter 2017/18
Get Dusty Competition September 2017 Winner - Ruth Mann ‘In the Deep’
28x41cm. This is my interpretation of the Theme poem, done out of my head.
An attempt at a more abstracted style.
Judge’s comments:
‘For the modern touch and
the simplicity of execution.
Audacious colours and
beautiful composition’.
‘Time for Reflection’
Our Guest Judge was
Claude Carvin
Page 5 Winter 2017/18
‘Good Luck!’ by Dolores Saul UART black sanded paper 400 grade. 23 x 14,5cm. Own set up.
‘Lotus Pond’ by Dolores Saul
UART 500 ,23x29cm, Sennelier and Terry Lud-wig pastels, Ref. photo with permisiion by
friend Regine Jäger
Judge’s comments:
‘For the power of the line and the energy which she evokes. Painting of
character.’
Judge’s comments:
‘For the original composition, the dynamic touch and the strong colours.’
Get Dusty Competition September 2017 Second Place
‘Time for
Reflection’
‘Summer Memories ll’ by Roman Burgan 18x14" Unison soft pastels on UArt (400) paper inspired by Miro Trimay pohoto (with permission) of Slovakia, region Banska Bystrica - Poryba ...such photos brings back memories of youth..
Third Place
Page 6 Winter 2017/18
‘Morning Light’ by Brigitte Courte 30 x 20cmUnison pastels on Pastelmat. Painted en plein air.
Judge’s comments:
‘A lot of personality in this work, power of the line and the stylized forms.’
Judge’s comments:
‘For the original composition, dynamic touch and the strong colours.’
Get Dusty Competition September 2017 Honourable Mention
‘Time for
Reflection’
‘Late Summer at Oker River’ by Martina Zingler 30 x 30cm. Toison d’Or, Caran d’Acge pastel cubes, Unison, Sennelier and Schmincke on Sennelier Pastel Card. My own reference pho-to taken on a sunny late summer day at Oker River near my home town.
‘Bridge in the Park’ by Ute Farr
30 x 40cm. Painted en plain air with many mosquitos! Sennelier, Usinon and schmoncke
pastels on Pastelmat.
Judge’s comments: ‘The well-realized reflections and the contrast shadows & light make this a success.’
Page 7 Winter 2017/18
Claude Carvin After studying art at the Aix en Provence art academy,
Claude Carvin worked in various professions to earn a
living. He moved to Ardèche in 1992; inspired by the landscape, he began to exhibit in the region.
‘Parfum de Genets’ 40 x 40 cm
‘Au Bord de L’eau’
30 x 30 cm
After working in oils for years, he discovered pastel.
This medium changed his way of working; this direct and intuitive medium
brings him closer to his subject, especially during plein air sessions. His encounter with the Pastellistes de France opened the doors to international
art exhibitions and recognition.
He became a member, then a teacher at the Société des Pastellistes de
France and organized workshops throughout France.
Several articles were devoted to him in artist magazines (Practice des Arts, Artist Magazine, Plaisir de Peindre, Dessin et Peinture and The Pastel Journal.
A DVD published by Pratique des Arts will be dedicated to him.
Page 8 Winter 2017/18
Get Dusty Competition October 2017 Winner - Marie France Oosterhof
‘After my Bath’ 50 x 50 cm on Canson mi teintes
from my imagination.
Judge’s comments:
‘Charming depiction of an unusual
subject.
Strong abstract design elements.
Fresh, clean, bold strokes fit the title
perfectly.’
‘Colourful Animals’
Meet Rita at www.ritakirkman.com
Page 9 Winter 2017/18
Third Place Get Dusty Competition October 2017 Second Place
‘Redeye Tree Frog’ by Kerstin Birk Wallis Paper with watercolour underpainting and soft pastels from Schmincke and Unison, from my own Photograph and imagination. 45x30cm ‘Through a hedge backwards’ by Jan Hargood
Unison pastels and various pastel pencils on Pastelmat 14" X 14" from reference photo permission of Ernie Grifith
Judge’s comments:
Another exotic subject is intimately cropped and rendered with strong crisp colour and interesting negative shapes. The flat blue background is a welcome contrast to the active green foliage of the hula dancer. With rich greens and velvety smooth skin, Hula Kahiko has a modern appeal.
Judge’s comments: ‘Beautiful light and ‘whites’ that are not white. Excellent use of pastel medium in varied application techniques.’
‘Colourful Animals’
Judge’s comments: ‘Strong and elegant composition. Beautiful colour harmony, light and form. The water-based under painting incorporates well with the pastel.’
Page 10 Winter 2017/18
Get Dusty Competition October 2017
Honourable Mention
Judge’s comments: I was really charmed by this nostalgic story of The Mistress of the Inn. The overall environment is nicely handled, with brick, ivy and stone collaborating with our lovely subject to transport us to another place and time. The charisma of the model is wonderfully revealed in the painting .
‘Coquilles Saint Jacques’ by Gina Carstens
29,5 x 23,5cm.Uart 400, CarbOthello pencils, Girault,
Terry Ludwig., My own Ref. photo .
‘The Mistress of the Inn’ by Irina Orlova My grandmother in the role of ‘The Mistress of the Inn’ by Carlo Goldoni. 44,5 х 32,5 cm Pastelmat paper, pastels Unison, Sennelier, Rembrandt, pastel pencils Caran’d’Ache, Conte. B/W photo of 1938 from the family archive.
‘Gold Fish’ by Irina Orlova A Russian belief: goldfish make wishes. From my own photo and imagination. Soft pastels Schmincke, pastel pencils, Caran' d'Ache, Carbothello, General's White on Canson Mi-Teintes black paper, 24x32 cm.
Judge’s comments:
‘Daring composition! Excellent colour harmony and contrast of textures.’
Judge’s comments: ‘Another unusual and creative interpretation of the show subject. Effective use of contrasting colour intensi-ties and close values. Intriguing abstract shapes.’
‘Colourful Animals’
‘Kiss Me’ by Dolores Saul
Sennelier softpastels and Carbothello
pastel pencils on UART 400. Size of
pastel is 22x29cm and ref. is my own.
Judge’s comments: ‘Whimsical story that makes me smile! Black paper adds luminosity to the goldfish. Iconic centralised composition suits the subject pose.’
Page 11 Winter 2017/18
Get Dusty Competition Best of ‘Get Dusty’ WINNER - Ghislaine Fabre
‘Douceur Frisee (Amina)’ Pastel done on pastelmat, 50 x 50. Reference photograph by Mr Cliff Sanajong (de Paramaribo) who allowed me to use his photo of this young girl Amina. Many thanks for his permission.
Every year the Members of
PastelGuild of Europe can
vote for one painting to be
awarded ‘The Best of Get
Dusty’. In other words, ‘the
best of the best!
For 2017 the Winner is
Ghislaine Fabre for her
beautiful portrait ‘Douceur
Frisee (Amina)’ which won
the get Dusty competition in
July.
Congratulations Ghislaine!
Page 12 Winter 2017/18
Get Dusty Competition November 2017
‘Autumn Beauty in Nature’
Winner - Dolores Saul
‘October Beauties’
by Dolores Saul
UART 600, Sennelier, Terry Ludwig soft pastels. 29 x 22cm photo is my own.
Judge’s comments:
An outstanding autumn floral
painting. The contrast of hard
edges in the foreground and very
soft shapes in the background
makes the flowers practically
jump off the page. The subtle
softening of edges on some of
the blooms appropriately places
those blooms farther back in the
picture plane.
The informal posture of the
flowers is quite natural, as is
the portrayal of various stages
of bloom from bud to full flower.
I like the play of warm pinks in
the lit petals against the cool
violets of shadowed petals.
There’s a strong sense of light and
dark throughout the painting; I
can see and feel the sunlight.
Guest Judge Jude Tolar PSA Once again, there was much to like in the entries for this Get Dusty Competi-
tion. Beautiful work by talented pastel artists. Please keep creating your won-
derful pastel paintings! Thank you so much for inviting me to judge your intri-
guing competition. Sending pastel friendship from Oklahoma in the US.
Read more about Jude on her website: www.judetolar.com
Page 13 Winter 2017/18
Get Dusty Competition November 2017
Third Place
Get Dusty Competition November 2017 Second Place
‘Beauty on the Edge’ by Martina Zingler Caran d'Ache, Terry Ludwig, Schmincke and Sennelier on Sennelier pastel card, 25x50cm, my own reference photo
‘Mushrooms’ by Elisabeth Blass 28x21cm on Uart 500. My own ref photo.
Judge’s comments:
Again, nice contrast of sharp edges in the foreground and soft ones in the background. This adds depth and interest to the painting. Some lost edges in the foreground add loose-ness to the leaves. The composition is quite engaging, leading my eye up, down and all around the painting. The diagonals make it dynamic. I love the judicious use of detail and the interplay of warm and cool colours.
Judge’s comments:
These mushrooms are endearing. They cozy together and clamour for space in a natural way. The dark foreground brings you into the painting, and the dark areas behind help the mushrooms look sunlit. The varying sizes help show how mushrooms seem to magically appear overnight. I imagine a tiny gnome or fairy frolick-ing at the base of one of them.
‘Autumn Beauty in Nature’
Page 14 Winter 2017/18
Get Dusty Competition November 2017 Honourable Mention
Judge’s comments:
‘Warms and cools work well together in this painting. I love the electric oranges next to the swath of blues. The touches of warm colour in the background help unify the composition. There’s a sense of playfulness and joy here that I find
most appealing.’
‘Autumn in Sauvener’s Garden’ By Marie France Oosterhoff
50 x 35cm. Canson Mi-Tintes Touch. Ref. my own photo.
‘Autumn’ by Polina Balashova 40 x 30cm. From life. Rembrandt, Toison d’Or, Schmincke pastels on Hahnemuhle Velour paper.
‘Cones and Needles’ by Clea Muller
23 x 30cm. Pastel & charcoal on AS Colorfix paper, my own ref. photo.
Judge’s comments:
The background colours and sparse com-position almost say, ‘winter’. However, the confident gold strokes and green branches emphatically say, ‘autumn’. The cones have just the right amount of detail. I love that they are not overworked. Again, poetic.
Judge’s comments:
‘A cornucopia of flowers, seen up-close yet with depth in the picture plane. I love the balance of strong mark-making and softened edges. Some flowers go off the page, adding to the depth without turning this into a landscape. The dominance of warm golds and oranges in the palette suggests autumn, while the pink reminds us of the overlap of summer and autumn florals. Poetic.’
‘Autumn Beauty in Nature’
Page 15 Winter 2017/18
At the end of November 2017 I participated in a workshop with
wildlife artist Eric Wilson in Heer-
len/Netherlands. I am fascinated by
his paintings and urgently wanted to
learn more about his pastel technique. PGE member Yolanda Coevers-
Schoenmarkers had organized this
master class at the big art supply
shop ‘Victor4Art’ in Heerlen.
Eric Wilson is one of Great Britain's leading wildlife artists, a multi-
award winner whose paintings are
now widely collected throughout
the world. He has had sell out exhibitions in London, Germany
and the United States. His paintings
have appeared in numerous maga-
zines and books and original works
have been auctioned at Christies in
London.
Eric has recently been the subject of a Sky Television documentary
'Zeitgeist' about his life and work.
He is also a respected teacher of art, with students coming from as
far away as Australia for his lessons
and he has taught in Italy, Holland,
Germany, Austria and Thailand. His
instructional DVD 'Pastel Masterclass' has been a huge success selling all
over the world.
The worldwide appeal of Eric's
work is not only the craftsmanship of his paintings, but the fact that he
has spent a lifetime studying these
animals in the wild, from polar
bears in the frozen north, gorillas in Zaire, to tigers in Nepal.
Eric paints wildlife from his own
direct experience.
For more information, visit Eric’s website at
www.ericwilsonart.com
Initially I had expected Eric to
show his composition technique at
the easel. But first, everybody got a reference photo and a b/w A3
copy. Most participants chose a
photo of one of Eric’s paintings.
I decided to use a photo of a lion a photographer friend from
Switzerland had given to me. We
used graphite paper to transfer all
outer lines and other important boundary lines like eyes or ears
and drew the rest by hand. Then,
Eric spent at least 30 minutes
with each participant discussing
technique and the colours to use at each stage of the painting process.
I was already used to building up
colours with soft pastels in several layers on UART sanded paper and to
put in the details with pastel pencils.
I started with the eyes and quickly
met with the first difficulty. The
lion’s left eye was partly in shadow and the eyelid, like everything
else had an olive tinge. Eric sug-
gested using soft pastels only
sparingly and to use Carbothello
pastel pencils in several layers to build up the correct colours. You
hold the pencil almost horizontally
and use the whole length of the
exposed pastel core.
We were using Pastelmat which has a much smoother surface that
the UART paper I was accustomed to;
I had quite a lot of adapting to do!
We first developed the colour
scheme on spare paper and compared
it to the original photo.
Only when we were happy with the result did we use it in our
painting. The iris was painted in a
more vibrant yellow; for the eye-lid I actually used a muted Terry
Ludwig olive green. The lion’s
mane only stood out after Eric
had covered the background with
a very dark brown and black and blended it in a thin layer towards
the lion’s head. Now I could draw
more accurately the strands of
hair and the curls because the
Pastelmat surface wasn’t complete-ly filled with pigment.
A Wildlife Masterclass
with Eric Wilson By Dolores Saul
Continued over . . .
Page 16 Winter 2017/18
Time passed quickly; lunch had
been kindly prepared by Yolanda’s
parents. With renewed energy we went back to work.
Eric had encouraged me to be
bolder and I under painted the
shadow of the lion’s cheek in Olive green.
In the evening, we had dinner
in a Greek restaurant in Kerkrade and had a lot of fun.
On the third day of our workshop
I realized that I had painted the
lion’s chin too small. After correct-ing my error, I used a General’s
Charcoal pencil in white (558) to
add the finest hairs.
Those whiskers were the last
detail in my painting. I would have
drawn those white lines in one con-tinuous move but Eric suggested to
draw over them in different colours.
Of course! The light didn’t hit the
whole length of the whisker!
I now really like my lion and we all have learnt a lot!
We enjoyed our meals and chatting together; we had all found new friends. Great that Mr Wijnands, the owner of Viktor4Art opened his shop
even on the Sunday for our emergency purchases. We could also buy prints
of some of Eric’s paintings. We all received a beautiful certificate and
proudly drove home with our new paintings.
I am sure it wasn’t always easy for Eric to constantly adapt to the various
artistic levels of his pupils. I think it is easy to understand that the air some-
times seemed to crackle with the concentration and effort we put in; but
our teacher always managed to release the tension with a joke. He asked the woman sitting next to me for the Carbothello pencil 625. We wondered
aloud if he knew every number by heart because we all had at least 60
different pastel pencils. He made us all laugh when he replied ‘No, that is
the only number I have managed to memorize!’
This masterclass was a wonderful experience and we learned a lot. Eric is a great teacher who helped us all to achieve really beautiful paintings. Highly
recommended! Many thanks go to Yolanda, her parents and Mr Wijnards for
the organization of the master class!
See Dolores’ finished painting on the next page . . .
(Continued from previous page)
Page 17 Winter 2017/18
‘In the Sunlight’ by Dolores Saul
Eric Wilson at his Wildlife Masterclass in Heerlen
For more information about his workshops, visit Eric’s website at www.ericwilsonart.com
Page 18 Winter 2017/18
2. Subject of Competition:
March - Landscape - Cityscape, day or night Your entry may contain human figures, but only as part of the scene. Remember, this is a landscape challenge! Closing date: 25th March 2018 April - Animals - On the bird table A painting of one or more local wild birds that visit our gardens. It’s fine if they are perched on a twig or sitting on the ground; a bird table is not essential for this challenge. Closing date: 25th April 2018 May- Still life-Clothing and accessories A still life containing scarves, hats, jewellery, gloves with or without a piece of clothing. Closing date: 25th May 2018
‘Get Dusty’ Competition Join in the fun and whip up some dust, painting for our monthly pastel challenge!
‘Get Dusty’ is a competition for pastel artists of all levels, organized by PGE members for PGE members on a monthly basis.
Prizes to the Winner of each month’s competition are kindly donated by our generous Sponsors.
‘SPROUTS’
Is PGE beginners’ challenge.
Page 19 Winter 2017/18
UART Premium Pastel Paper is constructed to provide pastel, colour
pencil and charcoal artists with a quality and reliable foundation. With
seven paper grades from 240 to 800, our sanded pastel paper accepts a
wide variety of media for underpainting without compromising the
tooth. You can layer, correct and create without impairing the paper or
your piece.
In addition, our manufacturing process guarantees a consistent surface
so your work looks flawless from corner to corner.
A demanding artist requires a partner that demands more from its paper.
Our dedication to quality, dependability and value ensures you can create
without compromise.
BENEFITS OF UART SANDED ART PAPER
Seven Grades to Choose From
PH Neutral/Acid Free
Accepts All Wet Media
No Fixatives Required
Consistent and Reliable Sanded Surface
UART is proud to introduce our brand new UART Dark. Available in
grades 400, 500, 600 & 800, you will love our new dark surface.
We guarantee that your pastels will shine on this dark substrate which
creates vibrant effects and delivers super rich contrasts. UART Dark Premium
Sanded Pastel Paper is made with the same material and consistent
texture as our regular sand coloured paper and will accept a wide variety of
wet media.
Read about the other products like pads and boards on the UART website:
uartpastelpaper.com
Our new
Sponsor!
At the end of January we found the winner of ‘SPROUTS’ - the PGE competition for beginners. Beatriz V.Herrera Campo wins the challenge. Sad she was the only participant.
Our challenge for beginners
‘Complementary
Colours’
Ruth Mann said: ‘I love the composition and you have put the complimentary col-ours to good use. The only thing which came to mind was that the sharpest contrast of violet and yellow is in the sky, near the top. It draws my eye, may-be a little too much. It is easily rectified by softening the edg-es, by layering yellow into violet and back. The water is fabulous and I love the way you have painted the treeline.
SPROUTS
Congratulations Beatriz!
If you are a beginner pastel artist, look out for the SPROUTS competition. You will find it in The Forum on the website. www.pastelguild.org
Page 20 Winter 2017/18
In October 2017, the UART company from New York had hired me once again to do demos on their sanded pastel paper at their booth at the Creativeworld Trade Fair in Frankfurt, Germany. By now, we work well as a team and I was really looking forward to it.
While I was packing my materials, I thought about how I could best use the limited space. Bringing my usual pastel box was not possible, because I would be left with only a few inches of space to paint. So I chose the Unison landscape set and my Carbothello pastel pencils. The 70% alcohol I normally use for my underpaintings was not suitable for the fair because it is highly inflammable.
In the evening, I thought about how I could demonstrate the difference between the different paper grades. During the last two fairs, I had painted a small landscape and left part of the paper without pastel. That way, visitors could feel how rough or fine the paper was. But after two years I needed to come up with something new. The next day I taped together 6 sheets of 240 to 600 graded paper. Then I roughly applied the main colours. As before, I left the border of the paper free of pastel. I brushed in the pastel with the alcohol and let it dry. Although this was not a bad idea in itself, I had not considered that the alcohol would seep between the sheets and dissolve the glue. As a result, each sheet curled a little; but there was nothing to be done! On my dried underpainting I painted one of my waves of Hawaií with Terry Ludwig’s beautiful pastels and added the paper grade numbers on each sheet.
I also stuck a sample of dark UART paper and black Sennelier LaCarte on-to my chart. With a single stroke I drew different pastel sticks over the pa-per samples from top to bottom. It showed how much the UART Dark 400 support enhanced the vibrancy of the colours!
At the booth, I placed the display board on a half-height easel. I put my little parrot painting on the counter which I had done on UART Dark 400. I was very happy when these two colourful feathered birds got a huge re-sponse. On Saturday and Sunday a lot of visitors came and looked over my shoulder, while I painted.
For my first pastel "Winter Sun" I used UART Dark paper and let the black
Creativeworld Trade Fair 2018 by Dolores Saul
The UART booth
Bonnie & Clyde
‘Early Morning’
Tiny workspace!
Page 21 Winter 2017/18
work for me. I used a light touch with my pastels, so the small areas that remained uncovered stayed visible through the snow.
It was particularly surprising for the visitors to see that hardly any pastel dust is produced when using this paper. Unfortu-nately, dust still keeps many artists from painting with pastels. The UART Premium sanded pastel paper really impresses with its ability to take up to 24 thin layers of pastel.
Just as I was telling a visitor about the possibility of buying UART paper in single sheets at Victor4Art in the Netherlands, the owner of the shop appeared at our booth. He is looking forward to our 2nd PGE member meeting in May at his shop and hopes that he will have enough UART paper for our planned demos and workshops.
I also talked to some very nice dealers and artists and I often took a short break from painting to explain the advantages of the UART paper and to show it on a sample.
During my break, I explored the fair but unfortunately, I hardly found anyone who took time for a conversation. At the Royal Talens booth, I asked about the possibility of sponsoring and was told to send my request via email. At Sennelier and SchminckeI was not even welcomed or asked about my interest in the products; very disappointing.
On a positive note, I discovered a young artist from Sweden who offered 3-D colour charts. These 'globe' structures were assembled of different parts and each showed a colour in all its tones, tints and shades. You could take them out and immediately see what each colour consisted of. This is a great help for schools and workshops. Sara Beach sells these little colour globes for about 10 euros. There is a video about it on their website (www.kolormondo.com).
At the booth of MT Kamoi (www.masking-tape.jp/en/) from Japan I was looking at the colorful masking tapes when a dealer handed me a roll and their leaflet. A nice polite gesture, in accordance with Japanese culture! I used it on my third pastel to create a clean horizon line. After I had fin-ished the sky, I put the same tape above the horizon line, over the painted sky and fixed it to the sides of the pastel paper. This allowed me a clean application of the dark blue colour for the sea. The masking tape can be removed from the painting without lifting off any pastel.
For me, the highlight of the Creativeworld Fair was to receive the material prizes for the next 12 Get Dusty competitions. On behalf of PGE I want to thank our current sponsor UART for this. I am looking forward to sending out not only the certificates, but also the pastel paper sets to the winners!
Continued.
To round off the weekend, I invited the two UART managers for dinner at our home. My wild boar stew convinced my guests of the finesse of the German cuisine that doesn’t offer only sauerkraut! We chatted about a lot of things, and my husband particularly enjoyed sharing his passion for American Foot-ball with our friends from New York. It was after midnight when I drove them back to their hotel in Frankfurt.
P.S. As soon as I get information about where UART Dark will be available in Europe, I will announce it on our website. In this sense - happy painting!
Detail on UART dark paper
‘Silent Forest’
‘Winter Sun’
Page 22 Winter 2017/18
Get Dusty Competition Winter 2017/18 ‘Free Choice’ Winner - Ghislaine Fabre
‘Frosty Morning, Matin Givre’
25 x 50cm. Soft pastel on Mi-Touch. Own photograph taken near home.
Judge’s comments:
Great use of a long format. The almost-entirely medium value/tone of the painting has just enough areas of brighter lights and darker shadows to keep the eye interested. Really beautiful use of strokes, and control of temperature, adding to the visual perspective. Captures the mood of a cold frosty morning, yet with a promise of the sunlight to come.
Our Guest Judge was
Barbara Archer-Baldwin PSA
Barbara said: ‘Your artists are amazing! This was difficult to judge. The quality of these paintings is outstanding. The art-ists’ drawing, composition, value/tone, pastel technique, at-tention to edges, and understanding of colour schemes are all very well executed.’
Page 23 Winter 2017/18
Get Dusty Competition Winter 2017/18 ‘Free Choice’ Second Place
‘Winter Time’ by Roman Burgan
65 x 50cm. Unison soft pastels on Mi-Tientes touch paper with acrylic and clear gesso under painting. Own photograph reference.
Judge’s comments:
‘Lovely muted palette, creates the chilly feel of the season. Good job of lead-ing the eye to the focal point, the group of warm trees, carefully placed just off-center. The artist bent several compositional ‘rules’, but with the use of values/tones, temperature variation, drawing and beautiful edges, it works!’
Get Dusty Competition Winter 2017/18 ‘Free Choice’ Third Place
‘Colours of Snow’ by Martina Zingler 30 x 30cm. Terry Ludwig pastels on UART, underpainting with china ink in 3 colours,
Judge’s comments:
‘The success of this composition in this usually difficult square format is very striking. So many elements here keep the viewer coming back: the strong ener-getic stroke work, use of values and atmospheric as well as visual perspective, the complementary palette, with the punch of the darkest warm greens, all create the mood of the forest in winter.’
Page 24 Winter 2017/18
‘Reflections in the Bay of Kilan’ by Roy Hardin Karlsen
50 x 70cm. Soft pastel on Fabriano Tiziano Own photo reference.
Judge’s comments: ‘Intensely mood nocturne. Well-chosen colours, temperatures, values/tones, and the brooding shapes of this composition, join to communicate the dark, almost threatening feel of this place. The contrast of the beautifully painted woman is striking. Makes one ask questions: Why is she there? Isn’t she cold? For whom is she waiting?’
Get Dusty Competition Winter 2017/18 ‘Free Choice’ Honourable Mention
‘Winter Trees’ by Clea Muller 10 x 15cm. Pastel, gouache & charcoal on Pastelmat, Artgraf underpainting. Own photograph reference.
Judge’s comments: ‘Effective complimentary colour palette, with a nice little “spice” provided by the pure blue and red touches. Edge work and attention to colour temperature give this nice sense of dimension. Beautifully rendered textures.’
‘Baubles’ by Jan Hargood 13 x 9” Unison and various pastel pencils on sanded paper. Own photo reference.
Judge’s comments: ‘Fascinating use of mixed media. Successful long vertical format. The tall trees seen to be almost threatening, yet there’s a warm welcoming glow in the distance, beckoning the viewer to press on through the snow. Love the strong loose strokes and colour choices.’
Page 25 Winter 2017/18
HELLO . . . to our new members
Ingeborg Saes
I was born in 1955 in Solingen and still live there with my husband and 4 cats. I prefer realistic painting in the watercolour, pastel chalk, oil and acrylic.
I have had different teachers:
Ria Boy, Jan Boomers, Ewa Zajons, member of the drawing room Société des Artistes Indépendant, Paris and Salon Art’East Vit-tel., ART Club Kitzbühel
When I started painting in 1988, I never thought that this would affect my life in such a way: richer and more colourful. To the present day it fascinates me to paint landscapes, flowers, animals and still life in different media.
There’s hardly a day without using colour and paintbrush to lend expression to my thoughts and feelings. I mostly like the to paint animals - especially cats. I hope that my fascination and joy also reaches you as a viewer.
Awards (extract):
Fine Art prize Kobe, Japan 6/13 + 6/14, Thionville Grand Prix Ville de Manom
Prix du public Vittel, gold medal Grand Concours-Frejus 6.14, 6.16
Silver medal Grand Concours-Frejus 6.15,6.16
second price cat. CEPAL Oil 6.14, second price CEPAL pastel 10.17
1st prize animals Bruges 7:15, 7.16
Marco polo award Venice 9:15
EUR art plaque in silver 12.15 gold 2:16 and 3:16 badge of honor gallery of der kleine Prinz Baden-Baden
Second price Perl CEPAL 8.16 www.sofatiger.de
Clementine Houben Hello, I live in the Netherlands, Limburg. I always liked to be creative, but only the last 7 years I’ve really been devoted to it. I’m using a lot of media such as airbrush, acrylics, oils, pencils and pastel. I’m trying to find my own style, a bit more abstract. But that’s difficult when you’re drawing realism. The most I’ve learned came from workshops and YouTube; for example: air-brush from Marissa Oosterlee and pastel from Eric Wilson; he’s a great teacher, I learned a lot from him! Over there I met Dolores Saul and she told me about The Pastel Guild of Europe, It looks very good. Hope to get more inspiration from the website. There is beautiful work over there! You can find me on Facebook and I have my own website (in Dutch).
Facebook: https://www.facebook.com/Airbrush-Artwork-124132174899570/ Website: www.airbrush-artwork.nl
Page 26 Winter 2017/18
HELLO . . . to our new members
Mary Villon de Benveniste
Mary knew that she wanted to be an artist from early childhood and made this a lifelong pursuit. She attended Carnegie Mellon University, where she received a BFA in Painting, Design and Sculpture. Shortly after graduation, she visited Paris intending a short stay, but remained for almost forty years. While there she studied life drawing for two years at the Carrousel du Lou-vre and showed her work at the Salon des Independents, the American Em-bassy, the American Cathedral, the Mona Bismarck Foundation, and many one-woman shows at the American School of Paris and Marymount School. Mary received many portrait commissions, both there and in the US where she returned regularly with her children to visit her family on their farm in the suburbs of Washington, DC. Currently, her portraits hang from Dubai, to Paris, a castle in Scotland (Ambassador Pamela Harriman), Milan, Paris, Eng-land, and, in the US, from Greenwich, to Tampa and Atlanta to Los Angeles and Jackson Hole with the G.H.W. Bush Presidential Library and President Lyndon Johnson’s Texas White House in between.
Currently, Mary receives about fifteen portrait commissions each year most-ly by word-of-mouth. Mary is an award winning member of the Atlanta Por-trait Society, the Charleston Artists’ Guild, the Southeastern Pastel Society, a member of Pastellistes de France, and the Copley Society in Boston. She has an ongoing Facebook conversation with many followers where she dis-cusses her current projects as well as aspects of her work such as the rela-tionships shown between multiple subjects in the same painting (e.g., a fa-vored pet, siblings, or a couple). So, her work is not only realistic portrai-ture but an attempt to capture the emotional relations of her subjects.
Facebook: https://www.facebook.com/Airbrush-Artwork-124132174899570/ Website: www.airbrush-artwork.nl
Olga Diaz
I have loved painting since 1980. I lived in Madrid and attended ateliers Almela and Marchesi. I moved to Malaga and for a long time didn’t paint. I found pastel in Casa Cultura in Torremolinos in 2011. From then on I wanted to learn all about pastel and for a short time took classes with Abel Marquez. In 2014 I took an inten-sive course with Aurelio Rodriguez Lopez and since last year I attend her classes. Aurelio is a great teacher and a very nice person! In 2014 I had an exhibition in Museo Marca (Cacabelos) leon. 2016 in Castillo de bil-bil (Benalmadena) in Spain.
Page 27 Winter 2017/18
HELLO . . . to our new members
Danny Leonette
Hello Everyone, I would like to thank Dolores Saul for making me aware of this Pastel Guild and for helping me find my way around the site. Born in America a long time ago in L.A, eventually Santa Barbara, where I came into contact with clay. In 1967, off to England to become an apprentice potter, shortly thereafter to Sweden. Together with my wife, Kerstin, we live on an island, Gotland in the Baltic. We have our own pottery, studios and gallery. I give workshops in the spring and autumn, mainly Raku and other low fired sawdust techniques. In 2010 I felt my paintings lacked something. To this day I don’t know why I typed ‘Pastel’ on the PC, the first name that popped up was Sally Strand. At that time she had a series of pastels of unmade beds, and that was it... I had to work with pastels! I am honoured to be in this group. My website: www.leonette.com
Polina Balashova
Hello everyone! I live in Berlin in Germany, but I'm originally from Russia. I paint land-scapes and still life, more often with soft pastels, but sometimes with acrylics or oils. I was born in 1981 in Gorky (now Nizhny Novgorod). I learned painting at the art studio of S. Rodionov in Nizhny Novgorod. It is a kind of an art school for children and young people. Then I had exhibitions. In the autumn of 2008 I moved with my parents and my brother to Germany. I have always been interested in nature and enjoyed painting flowers, both as still life and en plein air in the garden. I have always been fascinated by the beauty of European lakes, by the subtle colours of skies and the magic of reflection. There are many rivers and lakes in Berlin and nearby. I spend a lot of time there taking photos and painting small landscapes with soft pastels. The larger landscapes I paint from my photos and studies. My website: www.polinabalashova.com
Page 28 Winter 2017/18
HELLO . . . to our new members
Roy Hardin Karlsen was born
in Lofoten, Norway in 1976, and has always been painting or drawing. Hardin has no formal art education and is primarily self-taught. He started working professionally in 1998, and shortly afterwards had his first solo exhibition. Hardin’s pastel paintings have been exhibited in Norway, Sweden and Denmark. Hardin consider himself foremost as a figurative artist.
Look out for the announcement of
The 1st
PastelGuild of Europe rf
International Online Show
2018
This new competition will be open to all
European artists and to all members of
The PastelGuild of Europe rf.
There will be some great prizes to be won
from a range of sponsors.
All details will be on the PGE website soon
and in the next issue of The Pastel Scribbler.
