This bright little bird captured my full attention and I felt drawn to paint him. His magnificent red feathers were a deligtful challenge as they required many layers of hard and soft pastels to achieve his bold markings and brilliant coloring. It was one of those paintings that I didn't want to end because the process was so
This was a commission for a woman I met during my employment. I created this painting from several photographs that were provided to me...two for the pose and one for a close up of the face and one to show light and color. The surface I chose to paint on was a dark navy blue mat suede board. I selected mat suede board becuase it allows multiple layering and supports fine details in a painting without smearing edges. It is one of my favorite surfaces becuase it enhances the richness of color that pastellists love to express in their paintings.
I have never had the privilege of meeting Mr. Marco, but I was provided with several photographs that depicted his personality and vivid coloring as well as the love and contentment he shares with his family, of which he is a treasured member. The surface I chose was a light tan mat suede board and the background is done completely in pan pastel. For Mr. Marco, I worked from Nu Pastels into softer pastels, such as Rembrandt, Unison and Great American Art Works. He was absolute fun to paint.
Desert Hues was an exciting accomplishment for me. I worked mainly with large simple shapes, texture and a limited palette for this piece. White ampersand board was the chosen surface because of it's advantages for creating a wet underpainting. After the initial colors were blocked in, I held a spray bottle about 8 inches from the painting and sprayed it with water. The colors ran and merged with each other. A delightful blending resulted. The masses in the painting still retained their shapes and it was interesting to apply the various pastels over the underpainting. Scenes like this are delightful to paint. Using this technique I am never sure what is going to develop during the process, thus the adventure.
Tumacacori is a place that excites artists imagination and fills their hearts with a desire to paint echos of times past. This old priest's housing quarters caught my eye with it's rounded corners and beautiful textures outlined against the brilliant AZ sky. A friend exclaimed, "You can see the softness of the ages in this." Her insightful comment echoed what I felt while creating this painting. For the surface, I chose Richardson's Gator Board in a gold color and used pan pastels for this heavily toothed surface to depict the marvelous textures, highlights and shadows in the ruin, as well as the desert earth surrounding it. For the sky, I employed almost every kind of pastel I had and blended many layers to achieve the brilliance of the blues inerent in the sky. This was a painting that just seemed to flow. I enjoyed the process immensely.