My heart goes out to everyone right now, and I know for many of you it is hard, can’t work and don’t feel too inspired right now. But if you have some art project laying around untouched or a future project you have thought about I can help you and reconnect you to our primal art roots. Tap your potential and connect the dots of emotion, mind, and senses — it is one of the most healthy mental things you can do.
We work with email, messenger, and phone. You get understanding, nudging, and homework. Send me an email, firstname.lastname@example.org, show me some of your works, and we can take it from there. Modest sliding rates, I really want to help.
Michael Newberry, Idyllwild, 3/25/2020
Years ago I took a pastel painting trip of a lifetime, for three months I traveled from Athens, Greece to many islands, eventually to Istanbul, and slowly back again to Athens. My first island was Tinos, from the harbor I rented a scooter, booked a tiny house outside of town for 15 dollars a night. The porch had a sloping view over gray-green olive groves down to the dark and brilliant ultramarine blue Mediterranean, about 300 ft to the left was a small, room-sized luminous white-plastered Byzantine church.
My first day I loaded my backpack with my 200 piece pastel set, and packed several sheets of full-size pastel paper in my large portfolio bag, swung the bulky bags over my shoulder. Weighed down, I then swung my right leg over the scooter and the momentum carried me, the bags, and the scooter to crash to pavement. Laying painfully on my side, the pastels scattered on the ground, and with the scooter pinning me down I couldn’t get up. An elderly Greek woman dressed in black tending the church next door witnessed it all. And she kindly helped me get up through my blushing burn of embarrassment. Once I was upright she helped me collect the pastels. Not speaking any English, she took my arm to follow her to her favorite view of the church, and through hand gestures suggested that I draw it.Continue reading “A Little Greek Pastel Painting Trip by Michael Newberry”
Newberry Art Tutorials
Colored and dark papers can save you precious time and give you amazing effects. When I paint/draw/teach plein air I try to nail the impression in under an hour, it is a race against the planet moving. As the sun slowly moves across the landscape you will see new cast shadows, new lights, after 3 hours they all cancel each other out leaving you with muck. So in keeping the time short using the dark paper can be a huge advantage.
The idea is the paper is your dark areas, sketch in the composition and leave the darkest part alone. From there you focus on bringing out the light, driving towards the light, with the last touches happening in the last few minutes before your hour is up! This approach works wonderfully and it feels magical while doing it.
One of the reasons why leaving the paper alone as darks works is because shadows are the absence of light. The darks don’t need details or labor, leaving them alone creates a atmosphere of mystery that is a perfect foil for all the lights you will be drawing. Save time, effort, and create magic by leaving lots of paper alone. Enjoy!
Below are my pastel landscapes all in under an hour. Take note of the dark areas are just paper.
Today I uploaded these pastel still lifes to my archive. They are in my Idyllwild studio’s drawing drawers. There is difficult oxymoron in painting and pastel which is that color kills light and light kills color, but I think with these I achieved the perfect balance bringing out the best of both. At the moment they are available and upon sale they will be framed with museum Tru-Vue glass, the best, no glare all you see is the beauty of the pastel and paper.