There is a certain enchanting beauty about a heavy snowfall on evergreens at the end of a winter’s day. I wanted to capture the peaceful quality of a northern Canadian landscape since this is where I’m from and we certainly have had a peaceful and long winter this year, which has brought several inches of snow although I am getting rather tired of the snow at this point in the year. This will probably be the last snow painting that I depict for a bit and plan on painting other subjects including a few spring landscapes if I can find the proper references or the wherewithal to paint.
I rarely talk about the actual application of the pastel however it might be interesting to some so…Many pastelists like to use harder pastels in the beginning and layer the softer ones over top however I don’t really like the hard pastel I have well enough to use them so I move straight to the Girault which are medium hard to the really soft one’s like Ludwig and Unison and keep layering until I either achieve what I want or I run out of layering surface. I don’t bother with an underpainting or anything fancy. It’s better to concentrate on things I need to work on improving such as the values changes, composition and color application.
Early on a Winter’s Evening
I love old growth forests and wish there were more of them left around and these two pine trees seem like they might be part of one such forest which is almost perceivable in the background through the mist. I used cool tones of greens, violets, blues and grays to capture the peaceful, lush , wet and somewhat haunting atmospheric mood of this scene. I used Terry Ludwig and Unison pastels on Wallis Pro White Pastel Paper.
Pine’s In the Mist, Pastel on Pastel Paper, 12×18″
I was thinking about water, wind and the weather and how it would be great fun to go see the ocean and see how it spoke to me. I liked the silvery morning light and the pink and violet clouds in the sky and the contrast between the rocks and the light on the water. The water seemed fairly calm so I decided to keep the marks smooth and I blended the colors a lot and I tried to capture the movement of the water around the rocks in the foreground. I used the same Terry Ludwig, Unison and Girault Pastel combination I always use on Wallis Pro White Paper.
Silver Light on the Sea, soft pastel on paper, 12×18″
I completed this study after getting the new Ludwig Vibrant and Maggie Price Essential Grays pastel sets and find that those vibrant pinks take some getting used to. I’m learning to like the colours but they are so different than the softer earthy tones that I usually use, but I wanted to liven up my pastel palette a bit and this set certainly does the trick. The Essential Grays is a very nice too although those lightest colours still aren’t light enough for me; however, it is an endlessly useful set.
Spring Tree in Pink Sudy, Pastel of Uart Paper
The painting itself is composed mostly from a few colours from the Essential Grays, Vibrants and Plen Air set. I wanted to capture the mighty size of this tree which can be difficult in such a small space but I hope that I managed to capture the majesty and some of the beauty. I don’t know what kind of tree this is although it might be a crabapple; however, the beautiful pink and burgundy colours attracted my eye.
My new sets of Terry Ludwig Vibrants and Essential Grays
Ever since childhood, Wales UK has always held a certain appeal to me, something that I can’t easily explain but it’s always been there nevertheless. My mother’s family may have come from there originally but my own research points more in the direction of Yorkshire, England than Wales but the family migrated to Canada back in the colonial days so the history has probably gotten a little muddled. I watched BBC video about the old Megalithic standing stones of the UK and when the host started talking about the Welsh history and showing the exceptionally hauntingly beautiful and lonely landscape I knew I had to get a few stills and work from those.
This painting was based on Cerrig Duon in mid Wales and I left the standing stones out since I was more interested in capturing the feeling of the landscape and the beautiful sky at sunrise. Adding the rainfall over the hills was artistic license at work since I don’t believe that it was raining in the documentary; however, I’ve heard that it rains a good deal in that part of the UK so I’m probably not far from the truth. I used a fairly cool and low-key value system in the hopes of capturing the eerie feeling that I was picking up from the video. One day I’ll have to visit this place!
Rain Along the Hills at Sunrise, 12 x 18”, Soft Pastel on Wallis Pro White Paper
Growing orchids happens to be one of my favorite past-times so when I picked up painting again; slipper orchids where one of my first subjects. Back then I mostly used colored pencil but when bad shoulder problems started to manifest I knew it was time to find another medium. Now I work primarily with soft pastel since it’s the most direct of mediums that requires less preparation and cleanup than oil paint which is my other preferred medium especially for larger landscapes.
Phragmipedium Geralda was my first orchid and has been with me the longest and has to be one of the easiest to grow so naturally it had to be one of the first orchids that I had to complete in pastel. Actually this is the second orchid portrait since I did complete a small portrait of the Star of Bethlehem orchid last year on Ampersand Pastelbord; however, I do seem to prefer the Wallis Professional White paper over the Pastelbord since it holds more pastel and is less likely to smudge while I’m working with it thereby making details easier to render. I’m also finding that the Wallis paper works wonderfully to create a soft and airy quality that I just couldn’t achieve in colored pencil. I used my usual Terry Ludwig, Unison and Faber Castell pastel pencils.
A Portrait of Phragmipedium Geralda, 18×12″ Pastel on Wallis Paper
Strangely I started this composition in oil pastel last fall and didn’t finish it since I didn’t like the paper; I also found that I didn’t find oil pastel suitable for landscape painting since the colours aren’t subtle enough. I had put it down and forgot all about it until I took a minute to look through my reference images for autumn themed paintings, and decided to use the old reference for a new soft pastel.
The colours don’t seem to be as bright this year, probably due to the dry summer, so I decided to tone the colours down in this one and make is more impressionistic. It seems that every landscape artist needs to attempt birch trees since they have such lovely bark although they aren’t my personal favorite. I hope that I managed to create a bit of depth in this painting which is something that can be difficult to do with woodland compositions; I also focused on conveying life energy and movement by using the pastel marks to create harmony with an almost musical quality.
I also used the white Wallis Professional paper which is indeed wonderful but not a toothy as the Belgium Mist and neither is as thick making it more likely to tear if you aren’t careful when removing the tape from the edges.
Autumn Birch Walk
Soft Pastel on Wallis Paper 12×18″
Living near Lake Erie has given me an appreciation of the beauty and sometimes violet nature of the lake, but it’s always been the sunsets that are the most dramatic. For some reason I never seem to have the camera with me at the right moment so when I saw a friend post a picture of a sunset along the lake on her Facebook page, I just had to ask her if I could use it. Thank you Tracy!
I also tried a new surface with the Colorfix Supertooth paper and like it well enough since it allows for a couple more layers of pastel and it has a much softer texture; however, it doesn’t go as far as Wallis Paper. Pastels include the usual Unisons and Ludwigs and the under drawing was done using Faber-Castell pastel pencils. I also used a few of the very warm colors in the Ludwig Plen Air set to make those shadows in the foreground vibrate. I probably took the greatest amount of time trying to recreate that dramatic sky leaving me to wonder why something as soft and simple looking as a sky can be so complicated. This must be the smallest pastel work that I’ve done yet and have to say that it’s great to have a piece that I actually like that isn’t so large and didn’t take so many hours to complete.
Soft Pastel on Colorfix Supertooth Paper 9×11”
I think it’s funny how artists always say that it’s bad to use too much green in landscape paintings and yet green is one of Nature’s dominate colors; seemingly, the color of life. It’s is also one of my favorites (perhaps it’s the gardener in me) therefore I decided to break with conventional wisdom and paint a landscape using green as the dominate theme. Sometimes you just need to do things the way you want since art begins with the artists and it is an expression of those artistic desires. I worked from a picture that I had taken near the Grand River in late spring before the terribly dry summer really kicked in so perhaps this is an expression of what summer needed to be instead of what we got.
I used Terry Ludwig and Unison Pastel on Wallis Belgium Mist paper.
The Green Walk, Soft Pastel on Wallis Paper, 18×12”
This painting is taken pretty much directly from a photo taken by a Flickr artist of a place in Wales, UK called Hafod Forest. Normally photographs need a good deal of improvements and several runs through a sketch book before I start the final work but this picture was one of those rare perfect compositions or at least it seemed to have the near magical qualities that I was looking for. I like to capture a certain presence or perhaps an awareness of place in my work, and it’s not at all common to see on such type of subject and photographer come together in one place.
This is also the largest work that I’ve done in pastel since first picking them up again. I do like working in the larger format since it allows for more detail and larger paintings are more noticeable. The portal or pathway between the two trees was the primary element that attracted me to the picture, but when reinterpreting the subject I found that it was necessary to be careful and avoid segmenting the composition too much so I decided to soften the lines and integrate the objects together to create more unity.
I also finally decided to try Colorfix primer after reading all the wonderful reviews for it and felt a little let down after trying it on Canson’s Multimedia sketchbook paper then primed a Canson Art Board and was much happier with that surface. I used my usual Ludwig/Unison combination of pastels and after several hours of work, I am fairly happy with the result.
Thank you Claire for sharing this lovely place and for allowing me to use your picture. You can find the original photo at Claire’s blog Here. Also you can find more information about the Hafod Estate Here.
Stepping Into Woodland Light 16×20″ Pastel on Primed Board