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Ryan Evans has helped the Scribbler Team with layout for a while,
and we are happy to announce that he is now very much part of the
team. We really appreciate his fresh and modern layout, which you
will see more of in this issue and in the future.
We meet the Get Dusty Winter challenge winner Mario Vukelic,
who shares how he makes things happen around him. We shall
meet Malcolm Jarvis, who won Best Composition, in the next issue.
PGE members are invited to give special attention to the informa-
tion in this issue regarding the Annual General Meeting, and the revised Get Dusty rules.
When we attend workshops, we do it for different reasons, like learn a style, or get new fresh
ideas. Elisabeth Blass writes about one of her workshop experiences, and what she got out of
it.
I tend to say that painting is a lifetime journey
of learning and discovering. One way to do it
is to work from other people’s photos, and
challenge oneself to make changes to it and
make a painting one’s own. See more in “You
are the boss”.
Happy painting,
Charlotte Herczfeld
Editorial Scribble
PGE has a new sponsor! We are pleased to announce that the PGE's
new sponsor is Girault Pastels. This means
that the Get Dusty challenge prize each
month for the next year will be a set of 50
Girault Pastels.
These soft pastels, made in France, have a
history dating back to 1780. They are very
versatile pastels, excellent both for covering
large areas and for fine detail work. Using
over 80 pure colours hundreds of shades and
tints are created by blending the colours with
white, black or
other colours.
These pastels
are used by
many eminent
French pas-
tellists and
come highly recommended.
For more information about Girault pastels visit:- www.pastelsgirault.com
The Pastel Scribbler P a s t e l G u i l d o f E u r o p e F e b r u a r y 2 0 1 3
The Scribbler Team This issue is made by: Charlotte Herczfeld, Editor, writing, Ruth Mann, editing, writing, and proof-reading Ryan Evans, layout Contact: [email protected]
Editorial scribble
PGE has a new
sponsor!
2
Get Dusty Winter
Challenge results
3
Get Dusty informa-
tion
5
Meet Get Dusty
Winner– Mario
Vukelic
6
Workshop experi-
ence with Elizabeth
Blass
9
You are the boss! 10
Creative Bubbles
PGE update
12
13
Inside this issue:
Cover image:
Detail from Cley Cottages by Malcolm Jarvis
T h e P a s t e l S c r i b b l e r P a g e 2
P a g e 3
Get Dusty Winter Challenge Results The winner of the Winter 2012/2012 Get Dusty challenge – Free choice – is Mario Vuke-lic, Croatia, and the winner of the award for Best Composition is Malcolm Jarvis, Eng-land. Both are awarded prizes.
T h e P a s t e l S c r i b b l e r
1st place: Mario Vukelic, Physalis Blue
Comment: The strong hues and composition of this painting are initially very compelling, but a longer look proves it’s not merely made up of color and contrast. The painting delights with charming rhythms, fascinating negative spaces, excellent draftsmanship, useful textures, and a variety of technical approaches, utilizing the strengths of pastel. Subtleties keep the eye circling around this stable yet dynamic composition that stands firmly in space yet invites us to visit each branch in turn. The painterly quality draws on soft and crisp strokes, while grayed colors host the bright orange-blue complement.
Best Composition: Malcolm Jarvis, Cley Cottages
Comment: This playful yet expressive composition brings more to our understanding of the artist’s ex-perience of this little town, utilizing cubism to express different aspects of the place, while synthesizing the whole impression. The harmony and visual continuity of the cottages lets the viewer blithely enjoy the place without getting lost or becoming distracted. An excel-lent use of color, contrast, and detail draws us into the area of greatest interest, comprised of four crea-tively overlapped sections, while the shapes all help to thrust or attract the eye toward the center of interest.
2nd place: Katerina Pyatakova, Intuition
Comment: This painting is a shape-driven abstraction derived from a strong rendering of reality. It sculpts space, allowing the eye to travel easily over the liquid planes in a dynamic S-shape that suggests the fluidity of the water from the start. The powerful movement of the water is suggested by directional strokes, hard and soft edges and dark and light passages that create height, depth and distance. The artist has made excellent use of translucence and opacity, with a good technical ap-proach to handling pastels, respecting blending and scumbling.
P a g e 4 T h e P a s t e l S c r i b b l e r
3rd place: Julie Hodgson, “Happy Days”
Comment: This is beautifully rendered, with accuracy that suggests the artist caught a likeness of each child. The shallow depth of field and clear delineation of the space each one occupies places the two faces on “sweet spots” on the page, and the gesture suggests the weight of the toddler and the charming relation-ship between the two. Using not only excellent skin tones but great color reflections, all set on a unifying background color, the artist creates a lively palette, suggesting childlike vibrancy in every aspect.
Finalist: Charlotte Herczfeld, Winter Passage
Comment: The lyrical Impressionistic color gives this simple scene a romantic sense, suggesting the ideal amid the real. There’s an admirable focus on the light and how it describes the landscape elements. The artist is not overly enthralled with the man-made bridge, but gives loving attention to the way the light de-scribes the trees, bushes, snow and sky, as well. The composition invites the viewer to meander up into the area of interest and linger, yet creates depth with soft transitions into the distance.
Finalist: Jill Harker, Chance
Comment: The most endearing qualities of the breed are evident in this painting, giving an overall sense of the character of this dog. Crisp edges, lovingly painted details such as raggedy fur, sparkling eyes, lop ear, and even the friendly, almost smiling mouth, create an engaging portrait. The placement on the paper makes a dynamic composition, with the nose thrust to one side and the eyes looking at us. The background suggest an earthy, active dog without trying to describe the place, and enhances the eye color well.
Finalist: Marie France Oosterhof, Lost in My Dreams
Comment: Bold contrast, strong shapes, and aggressive color all combine to admirably express this subject. Contrasting dark and light values, as well as the brilliant touches of color, create focus and depth. Calligraphic strokes strengthen the piece, expressing the temperament of the animal. The white highlights and vibrant reds compel the viewer around the face and horns, drawing us back with the brilliant yellow calligraphy. Even the artist’s signature functions as a component of the composition.
Overall, I found this to be a very strong showing of pastels. I’m delighted to find the quality and vari-ety of work here. It was challenging to choose the winners, particularly the finalists, and I would have mentioned others if given the space (Senses Aroused, Silver Bowl and Grapes, and Tuscany Fantasy, Twilight Glow, and Decay.)
I hope the PGE continues to promote understanding of the versatile and delightful pastel medium, as well as bringing together European pastelists, and creating a great resource as you educate artists about pastels.
As I was often heard to say to my pastel class, “Keep going, gang!” It’s clearly evident this is a vi-brant, active group. Thank you for the opportunity to judge this challenge.
Deborah Secor
January 28, 2013
P a g e 5 T h e P a s t e l S c r i b b l e r
Some of the participants in the Get Dusty Winter
challenge were surprised to find their entries
removed after the deadline. This may seem like a
new and stricter application of the rules. In reality, it
isn’t so, as entries which do not comply with the
rules have always been quietly disqualified, as the
judges have been notified of which entries to
disregard. This time, there was a guest judge, and
the disqualified entries were removed in order to
make things easier for the judge. Also, removing the
pictures makes it clearer to the participants that the
rules need to be checked.
The two most common mistakes are:
a) The size of the uploaded file is too small. It should
be as close to 800 pixels on the longest side as you
can make it. If it is too large, the system will either
shrink it to 800 pixels, or tell you it is too big.
b) The actual size of the painting is not written in
the comments field. The judge needs this
information, as what is possible in a painting which
is 50x70 cm needs to be handled differently in a
miniature painting of 5x7 cm, and it impacts how
the painting is judged.
The Get Dusty Team will not chase after ten people
and ask each to comply with the rules. Just like in
any other contest, it is the responsibility of the artist
entering the contest to see to it that their entry is
correct.
In the Winter challenge there were a few cases
where the entries had been critiqued publicly
online, and where there was cause to assume that
subsequent changes in the paintings were made as
a result of the advice given. A Get Dusty entry
should be your own painting from start to finish,
and completed without any tutoring or advice. We
realize that none of us live in a vacuum, and that
people around us will comment on our paintings
within our hearing. If a spouse or friends comments,
that is generally no problem, but if the commenting
person is a fairly accomplished artist and we do
change our painting, well... we may want to
consider not entering it. In the end, it is up to our
own conscience, and a question of trust.
This rule is about the integrity of the PGE. We know
each other, some of us are friends, and it is vital that
we treat every entry exactly the same and apply the
rules to everyone.
The best advice the Get Dusty Team can give is to
check the Get Dusty rules at the PGE website, and to
ask the team if we still have questions. There is a
thread in the Forum for these kinds of question, and
we are welcome to post there.
Get Dusty and Disqualification
Get Dusty Schedule The theme for March 2013 is:
Category: Landscape Challenge: A Seascape
Deadline 25th March 2013
The theme for April 2013 is: Category: Portrait
Challenge: to be announced Deadline 25th April 2013
Are
Yo
u u
p t
o t
he
cha
llen
ge?
Le
ts G
et D
ust
y!
P a g e 6
“I c
an
su
m it
up
in o
ne
wo
rd:
text
ure
”“I
ca
n s
um
it u
p in
on
e w
ord
: te
xtu
re”
“I c
an
su
m it
up
in o
ne
wo
rd:
text
ure
”
Physalis Blue
Meet Get Dusty Winner: Mario Vukelic
Mario lives in Croatia with his wife and small son. He is working for an interna-tional company, but still finds time to paint in pas-tel, both on paper and on concrete. What was your inspiration for your winning painting, Physalis Blue?
The flowers are actually
from my mom's backyard
and I’m looking at this
bouquet every day. I’m not
a really big fan of dried
flowers but since my mom
gave it to my wife I have
no choice but to adore it.
One sunny morning before
rushing for work I made a
quick setup and took
around 10 photos. I
wanted to have back-
ground very close to flow-
ers to mix the shapes of
flowers and shadows.
One does not see many
paintings with physalis.
And to be honest I did not
even know the name of
that flower until I finished
the painting. Then my wife
asked around and found
out the name.
What materials did you use for this painting?
The paper used for this
painting was also new ter-
ritory for me. During my
recent visit to Madrid I
found a new paper from
Sennelier. It’s not that I do
not have enough pastel
papers in stock. It is just
that I can’t resist buying
new ones to experiment
with. It is titled “l’Esprit du
Pastel” and it is described
as a grey felt paper with
crystal insert, 25 sheets,
130g. Wow, such a nice
name for paper with crys-
tal inserts! This must be
something special! It was
wrapped and I could not
touch and feel it in the
store. After rushing to the
hotel and opening it, I was
a bit disappointed since it
looks and feels like a regu-
lar Ingres paper, but on the
good side it has a glassine
paper between each
sheet. I use Sennelier and
Unison soft pastels
mostly and it looks
like they also like this
paper. I had 3 ver-
sions of background
and shadows and the
paper was happy to
accept new layers. No
fixative was used and
I did not brush off any
layer. As a conclusion
I can say I like this
paper and I recommend it.
You have an interesting thread on our PGE forum about Bill Creevy and his technique. Can you tell us for Scribbler what do you find to be interesting about his book and his technique? Was it useful for your painting of physalis?
I can sum it up in one
word: texture. I just love
the textures Bill achieves
in his paintings. They are
so lively and eye catching.
I’m reading and looking at
his book over and over. If I
miss inspiration for paint-
ing I can just browse this
book and I get the urge to
paint. After looking at his
works for a few months
now and trying some of
the techniques Bill is sug-
gesting, I guess some influ-
ence is already in place.
This painting of an apple in
a glass jar was my first
attempt to use so called
linear approach from that
book. It is a 20x20 cm on
black Canson MT paper.
Jabukauboki
T h e P a s t e l S c r i b b l e r
P a g e 7
Street Painting
Tell us about
your street
painting, how
you got in-
volved?
To be precise I
was not in-
volved, I got
myself involved.
There was no
street painting
event any place close to
Zagreb which included
pavement painting. Proba-
bly the closest to Zagreb
was famous madonnari
festival in Grazie di Curta-
tone in the Province of
Mantua, Italy, but I needed
a place to practice first.
Therefore I decided to or-
ganize a street painting
festival together with my
wife just to get the chance
to paint myself. Zagreb is
lucky to have a big street
art festival called “Cest is
d’Best” that had 16 edi-
tions so far and includes all
kind of street art perform-
ances, jugglers, clowns,
many musicians, street
theaters, and a lot of danc-
ers. They had art installa-
tions and painting work-
shops but they were really
thrilled when I came with
the proposal to do the
street painting festival.
This year it will be the 5th
edition of the festival. If
you ever plan to visit Za-
greb, the beginning of
June is the time to come
and enjoy all these art
festivities.
For more info about Za-
greb Street Painting festi-
val please visit http://
pastelizacija.com
What do you find interest-
ing about street painting?
It looks demanding to
spend hours on your
knees and to cope with all
disturbances around you.
It is demanding, and some
people give up after trying
it once. First year we had
famous Croatian cartoonist
Nik Titanik and he told us
he came to make a quick
drawing within an hour
and he ended up spending
3-4 hours. He said this was
literally the hardest paint-
ing he had ever done. He
admitted to have had a lot
of fun but will not do it any
more. But at the same
time we do have as many
over 60 year old artists as
we do have teenagers, and
many people return to the
festival.
What do you love about
the street painting?
I love how you are forced
to improvise. I love to step
aside and listen comments
from people passing by.
But most of all I love to
meet new people who
share the same passion for
art and painting. Some of
the people I met are now
my good friends. I also
involve most of my friends
to come and help to organ-
ize this all day event.
Sax
T h e P a s t e l S c r i b b l e r
“mo
st o
f a
ll I l
ove
to
mee
t n
ew p
eop
le w
ho
“m
ost
of
all
I lo
ve t
o m
eet
new
peo
ple
wh
o
“mo
st o
f a
ll I l
ove
to
mee
t n
ew p
eop
le w
ho
sha
re t
he
sam
e p
ass
ion
fo
r a
rt a
nd
pa
inti
ng
”sh
are
th
e sa
me
pa
ssio
n f
or
art
an
d p
ain
tin
g”
sha
re t
he
sam
e p
ass
ion
fo
r a
rt a
nd
pa
inti
ng
”
P a g e 8
Green Hug What advice can you offer
to pastel artists just start-
ing out with the medium?
Experiment! I believe the
soft pastels are the best
medium to experiment
with. There are so many
effects you can achieve
and the results are in most
cases immediate. But be-
ware it is addictive! You
have to buy new pastels,
new paper and all sort of
tools, all the time. Some-
how pastelists are always
missing this special shade
and that super paper
which takes hundreds of
pastel layers.
Have you seen any growth
in awareness of pastel in
Croatia in recent times? Is
pastel there recognized as
a serious fine art me-
dium?
If you judge by the galler-
ies and the art prices I
would say it still is not the
mainstream medium. I’d
like to change this and
would like to see a pastel
society, or any similar
group to work to change
that. I have a plan or
rather a dream to collect
pastel paintings by the
Croatian artists from the
past and make a book
about it, but this project is
on hold and will need to
wait for the time when my
son is grown.
You can follow Mario’s art
on his blog mariovuke-
lic.blogspot.com, and on
his blog about pastel art
and pastel artist pastel-
news.com
T h e P a s t e l S c r i b b l e r
The Best of Get Dusty 2012! Proudly presenting the best of Get Dusty 2012. We have got together all the winning paintings, second places and special awards and put them together here for you to see. Members are encouraged to vote for their three favourites, follow the link for details. The closing date for votes is the 5th April 2013 and the overall winner (s) will be announced in the April Pastel Scribbler.
Admin news The PGE annual general meeting and Board elections are coming up. Nominations are invited for positions on the Board. Members please log in and see the thread in the General section of the forum for more details.
P a g e 9 T h e P a s t e l S c r i b b l e r
Here I will share my personal impressions of three interesting and instructive days I spent at a workshop in Paris in January together with our lovely friends Marie-France and Clea from PGE and some more attendees in the group directed by the excellent teacher, Nadine Roulleaux, So-ciété des Pastellistes de France.
As I live in Sweden I had to plan my equipment carefully due to travelling by air. The recommen-dation from the school was to bring several sheets of Canson-Mi-Teintes pastel paper in grey 50cmx65cm, a board of carton of the same size, as a backing sup-port for the easel, hard and soft pastel sticks, charcoal and kneaded eraser, bristle brush and some pastel pencils. When I booked my ticket I checked the luggage allowance carefully. I realised that there was no way of transporting these dimensions in my case. No panic, I rolled the paper and put it in two carton tubes, which were adjusted to the right size one with bottom and the other with lid. I put the same amount of glassine paper to pro-tect the pastels on the return journey. It worked perfectly with-out any damage whatsoever! For the backing I bought two pieces of 50x70cm foam board cut them in halves and taped two together again on one side in order to be able to fold it neatly in my suit-case. I put one half as an extra support across the taped joint when I rigged up the backing and all my sheets of paper on the
easel with clips. My box of pastels I carried as hand luggage with a note of contents on top in Eng-lish, French, and Swedish.
The school Ateliers d´Art is situ-ated in the suburb of Charenton le Pont and we worked from 10:00 to 12:30 and 14:00-17:30, 18th - 20th January, three intensive days.
The first morning Mme Roulleaux gave us a general introduction to the course, the planning of still life on the paper such as to indi-cate the horizontal and vertical lines and compare angles, lengths, dimensions etc. She showed and offered a very handy tool - a screw-nut hanging on a string to determine the vertical lines, which is so good to help place other surrounding objects in the right place on the paper com-pared to the main object. The next steps were to plan the still life on the paper and sketch it with charcoal, choose maximum thirteen pastel sticks, compare values, work dark to light and finally accents and highlights.
What I liked so much was the individual teaching method ac-cording to the students ability and requirements and the free-dom of choice of still life subjects, which the teacher had arranged so beautifully concerning colour and composition. You worked at your own pace, no stress at all.
My first painting was flowers. I managed to do the charcoal sketch which was acceptable without any alterations from the teacher and I could go to the next step, the under painting with broad and light pressured stokes using the pastel palette I had chosen. Some areas could be blended with fingers if needed and when I was finished Mme Roulleaux showed
me the next stage through paint-ing herself one of my flowers on my painting. What I appreciated so much was to see how she han-dled the pastel stick, the pressure applied to get the different nu-ances of the same stick and varie-gating with other colours too to build up the three dimensional look. She was rotating among the students all the time so skilfully and patiently, helping us with our paintings through painting and doing corrections herself on our work, explaining and giving fur-ther suggestions if needed. I liked Mme Roulleaux teaching method very much, without too much of theory. Painting, practicing, paint-ing. The details were not that important. The overall impression with shades and lights were the main thing. Two completed differ-ent paintings were the result of the day, which I was happy with.
The two following days were as encouraging as the first one with more new challenges on the still life settings and I am sure, the more you paint the more you learn especially when you have a good teacher. I was really so happy and enjoyed the course very much and it was also excit-ing, encouraging and pleasant to be together in real life with Clea and Marie-France. I was satisfied with all my five completed paint-ings and one half done, which I protected with glassine paper and rolled them up and put the whole lot into the cardboard tube for a safe journey back home.
Workshop experience in Paris with artist Nadine Roulleaux
Elisabeth Blass
P a g e 1 0 T h e P a s t e l S c r i b b l e r
You are the boss!
... it is not
the refer-
ence photo
which
makes the
decisions.
If you want
to train
yourself to make a photo into
your own painting, it
may be a good idea to
use reference photos
taken by other people.
It is an advantage to
not know the spot, as
then you will not be
tempted to paint real-
ity as you know it to be.
Your mind will not tell
you “but it looks just
like that”, precisely because it
doesn’t know how the place
looks, it only knows what a
photo shows.
This photo is taken by Don
Ketchek, and the scene is from
somewhere in the United
States of America. The photo
evoked memories from my
childhood, when my mother
and I used to ski in the woods
and on the frozen lakes where I
grew up. I decided to make a
painting from those ingredients
– the reference and the memo-
ries.
The photo is well shot, and
shows different planes and
objects which are coherent and
grouped. The bridge is a man-
made object which is interest-
ing. The water continues back
beyond the bridge, creating
depth and a sense of mys-
tery – what is around the
bend? The scene is filled
with light and there is little
shadow, which works well as
there are plenty of cool col-
ours in the sky and snow to
offset the warmer organic col-
ours.
There are a few problems to
solve. The mass of the distant
trees has a contour which fol-
lows the snowy bank under it,
creating a too regular “wavy”
shape like a banner (Picture 2,
marked in green). The shore-
line is certainly a straight hori-
zontal line, echoed by the
bridge (marked in red). The
whole composition of the
photo places all the darker
masses equidistant from the
top and bottom edges, giving a
sandwich effect of a dark band
one third wide, between two
light bands, each also a third
wide. (Picture 3.) This is the
natural way of taking a photo,
and we all have files full of
pictures similar to this. All this
can be changed by the artist.
(In the superimposed grid in
pictures 3 and 4 the green lines
show the divisions in thirds,
and the red line divisions in
halves, including the diago-
nals.)
There are many ways of solving
these issues. There is no one
right way, instead, there are
ways that work more or less
well. There is a definite need to
distribute the darks and lights
in a way which makes use of
the whole picture plane, but
exactly how can vary a lot.
Picture 4 shows how I hap-
pened to do it this time.
I brought the darks to
the top and bottom
edge, and jazzed up the
curves.
Picture 5 shows how I did some
work in the computer planning
where and how to draw the
lines and how to distribute the
five main value masses that
make up the basic flat abstract
structure.
Normally I do this by hand,
trying out different solutions,
until I find one that is pleasing.
As my drawing hand was in-
jured, I used the computer this
time to design what I call the
‘skeleton’, which is the struc-
ture that supports and makes
P a g e 1 1 T h e P a s t e l S c r i b b l e r
the picture hold together as a
whole as an abstract pattern. I
got rid of all straight lines with
the aim to let the lines ‘dance’
over the paper. Even the bridge
has a slight curve to it, with the
peak of the curve placed at a
distance of one third of the
length of the bridge.
I then drew the contours by
hand on the pastel paper, and
each value area has been given
a number to remind me which
tonal value goes where – that is
how important the values are
to me. (Picture 6.)
As this is a cool winter scene I
decided it needed a really hot
underpainting to infuse the
scene with light and to help the
cool colours sparkle. (Picture 7.)
The underpainting was checked
carefully with the help of a
value stick, and corrections
were added where needed. For
example, I had to
darken the reds of the
firs (picture 8).
When you want to
keep the structural
integrity, it is impor-
tant to constantly check if the
values are right, if the colours
are as you want them to be,
and if the lines and masses
keep their integrity. Make
changes as soon as you discover
the need for them, because if
something is wrong with the
underlying struc-
ture, no amount of
surface detail will
be able to hide that.
Problems did in-
deed pop up as I
painted, in spite of
about 4 hours of
serious preparatory
work designing the
painting. That is
fine, as we will learn more from
mistakes or oversights than
from an easy painting, and I
know I can’t think of absolutely
everything in advance.
The mass that represents the
firs to the left suddenly stood
out as having a too straight a
base, so I lowered the tree clos-
est to the edge (green arrow in
picture 9). It worked fine, but
then I discovered another prob-
lem which I had overlooked
when planning the composi-
tion. The two opposite banks
are too similar, and equal in
length (marked red). Also, there
were two similar shapes form-
ing hints of individual trees in
the background masses, which
both were placed as bookends
(marked blue). Together, these
problems created a too obvious
symmetry. One of the
orange tree-shapes
had to go, and I kept
the one to the right,
as it also works to
add higher contrast
for the small group of
firs by my chosen
area of interest. It is
important to con-
sciously search for
too symmetrical and identical
repetitions of shapes, as our
brains will tend to make them
and guide our hands uncon-
sciously. Deal with problems as
soon as you discover them, that
saves you a lot of trouble later
in the process of painting.
I chose the solution to take out
a bite out of the left bank, cre-
ating a shadowed hollow there,
which only left a small part of it
in direct light (picture 10).
After that, all that was needed
was to add the details and at-
tend to the edges. I brought
some of the warm oranges
down into the snow as clumps
of reeds, and lifted up some of
the cool snow-colours into the
trees, in order to create a
greater unity in the painting. I
kept the snow in the dark trees
to a minimum, to avoid break-
ing up the masses, and decided
to make the tree in the area of
interest to serve as a bridge
between the snow mass and
the sky mass by giving it the
most liberal dose of snow.
Creative Bubbles news, December 2012 and January 2013
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terised version of the finished
painting (picture 12) is a way to
compare the intent with the re-
sult. They do correspond well
enough for me to say “mission
accomplished”.
Now it was time for a final check –
had the masses kept their integrity,
was the structure still sound? The
value plan (picture 11) and the pos-
The finished painting
Winter Passage
“Watch out”: what a joyous painting:
the child on the saucer sled looks so
happy!
“Another way of travelling”: what a
colorful one! All those people follow-
ing the movement of the bus on the
dangerous road, looking happy too
though!
What do those two sensitive paintings
have in common? Elisabeth Blass
from Sweden painted both, and so
was the winner of both the December
and January Creative Bubbles.
And what else?...movement, color,
expression, in both of them the
painter shows us how to share special
or ordinary moments of life: merci
Elisabeth!
The February challenge is “Greens,
you said Greens!” Log in and enter
yours in the Competitions section of
the Forum, closing date 28th February.
T h e P a s t e l S c r i b b l e r
What’s Happening in the PGE Forum?– Join in the debate
and get involved!
We have a new bi-monthly chal-lenge/workshop called Focus. We're starting this regular thread by focus-ing on a special limited palette. Doro-theé Röhler is hosting the thread. There are reference photos posted there to work from if you want. Come and join us in the Atelier!
Show your best work of 2012 and see that of other members - in the Atelier.
There is a new Business and Marketing forum. Ask questions or offer answers there.
Talk about what's going on in your life in Small Talk chat with other like-minded artists- General forum
Share your master-piece and get feed-back from other art-ists– great for learn-ing!
We hope you enjoyed the Pastel Guild of Europe newsletter
We are group of pastel artists around Europe who share the same vision of connection and friendships between artists across Europe, with the common goal to inform, enjoy and delight in the beautiful artist's medium of soft pastels, and to be a support and resource for artists and groups of artists.
If you share same goals, you are invited to join our growing community.
www.pastelguild.com
The Pastel Guild of Europe was founded in May 2009 when pastel artists from all over Europe perceived a need for a supportive organization, as pastellists are still rather few and scattered over many countries. To-gether we can educate artists and the gen-eral public, promote, and enjoy the versatile and permanent pastel medium, thus taking an active part in bringing the renaissance of pastel painting to Europe. Being a young society covering many coun-tries, our activities are internet based, and we will grow to have the capacity of arrang-ing exhibitions and workshops where mem-bers meet in person. At the present, we of-fer a monthly online challenge ‘Get Dusty’, special challenges, and the monthly newslet-ter The Pastel Scribbler.
Debate the tricky business of sharpen-ing pastel pencils without pulling your hair out!
Learn tips in the popular Animal painting thread
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