Workshop Series: Pastel, Let the Color of the Paper Work for You.

Newberry, Santa Monica Lamp, pastel

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.

Five Pastel Still Lifes

Newberry, Double O, pastel, 18x24"

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.

Workshop Series: Find the Shadows First

Newberry, House Bridge in Rhodes, pastel

Then Add Light!

One of the most important lessons I teach in my workshops is to find the shadows first. It is almost a guarantee that if you find interesting shadows then the rest of your drawing or painting will work!

The hard part is that looking for shadows (cast, core shadows of the thing, and areas of dark) is counter intuitive, most people look for the color and a beautiful thing. Trust me, without the shadows it is a lot of work with little to show for it. In my pastels below you will probably notice the light and color, but what set up each one were the blocks of shadows.

The process starts with a dark paper, compose with any dark medium color playing special attention to main shadow areas. In cases with shadows of a yellow or white building, I lighten the shadow, but only one or two tones up from the paper. The rest is a lot of fun, leaving the shadow areas alone, then focus on the light and color areas, adding light by subtle gradations until I finish with the brightest light.

Join us in Provence France, September 7-16, 2020

Cheers,
Michael Newberry

The Grounds at Van Gogh’s Asylum in St. Remy

Today’s Edits of my Pastels from St. Remy

I took an extra week in France after my pastel workshop to draw for myself. I spent a day on the grounds of Van Gogh’s Asylum in St Remy. Then I was profoundly happy to be there and just drew without thinking; just experiencing. But today, I looked over these and added a little light. And I uploaded them to the studio collection of pastels on my archive.

Lessons From France

Find the Shadows and Bring Out the Light a Few Examples from Our Provence Art Experience Workshop

With Dan Zimmerman, Mathieu Brousses, Susan Surber, Wendy Higbee Carando (guest artist), Luxman Nathan, and Michael Newberry
With Dan Zimmerman, Mathieu Brousses, Susan Surber, Wendy Higbee Carando (guest artist), Luxman Nathan, and Michael Newberry

St. Paul Asylum in St. Remy

Our first morning was a bright windy day as we drove to St. Remy guided by Mathieu to visit and draw at the St. Paul Asylum where Van Gogh was a patient around 1888-9. It was also the period when he did many wonderful works. Incidentally, I did my final art history paper on Van Gogh’s painting of the asylum. We saw the VG bedroom and then we started with our first pastel drawing lesson directly underneath its window.

Our Provence Art Experience Workshop truly began seeing Van Gogh’s bedroom at St. Paul’s Asylum in St. Remy on our first day.

The students under the shadow of Van Gogh’s ghost and unfamiliar with plein air painting/drawing and with each other, and jet lagged they bravely listened to their first instructions. The concern on their faces was apparent.

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Eye Excitement: Why Ruins?

Rickety Courtyard Gate, Rhodes, pastel on dark paper, private collection
Rickety Courtyard Gate, Rhodes, pastel on dark paper, private collection
Rickety Courtyard Gate, Rhodes, pastel on dark paper, private collection

I have noticed lots of artists including myself are drawn into drawing abandoned places, scruffy landscapes, weathered shacks, and stone ruins. While a manicured lawn or polished mahogany conference table inspire a blau reaction. There is something visually exciting about the chaos of ruins but what is it that is triggering our vision? And why are paintings or drawings so boring when they are of pristine subjects? Vision scientists Jan Koenderink and Andrea van Doorn (a link to their abstract on pictorial space) talked with me over beers in Glasgow pub about how the eye goes blind if it cannot move about and compare and contrast tones and hues. Using my artist’s logic it makes sense that on the opposite end of the spectrum the eye becomes excited when each hue and tone is varied. My pastel of a rickety courtyard gate in Rhodes, Greece illustrates this.

Notice the gate is drawn with all kinds of unrepeated colors. The plastered gold side of the wall has countless hues ochre, and medieval stones are equally varied with its shifts between brown and gray. It seems like a lot to try to do in a 50-minute drawing, but I was helped along by all the setting’s details were all extremely varied. If you are an artist looking for something interesting to draw look for differences in everything. That will keep your eye busy and excited and the viewers’ too.

Michael Newberry

Mark Making Movement in Pastel

Newberry, Woven Baskets, pastel on dark paper, private collection
Newberry, Woven Baskets, pastel on dark paper, private collection

There is a smoky quality to dark pastel paper that has a depth and softness of the infinite. I am surprised that some conceptual artist hasn’t done a show using store bought pastel paper with nothing drawn on them. Nonetheless the paper calls for light, and I try to leave much of the original paper to give a depth and mystery to the shadows. The bowl’s cast shadow on the left and background right are almost pure paper. If I draw careful gradations of light from a smidgen lighter than the paper to the brightest lemon-white I create a hierarchy of tones which in turn is a part of giving the feeling of light. An equally important but overlooked part of drawing/painting light is to place the marks through space, like stepping stones from beneath our feet that extend off in the horizon. Combining the dusky shadows, light, and depth transforms flat paper into an alternative reality. This bridge is what I find magical about art.

To see more my Pastel Archive.

Pastel on Dark Paper – Just Add Light

Pastel on Dark Paper

Pastel on Dark Paper – Just Add Light by Michael Newberry

Pure Colored Light

I love working pastel on dark paper for one important reason: the pastel being lighter than the paper directly creates a pure colored light.

The paper is dark brown Canson, 19 x 26″.

Pastel on Dark Paper

You can start with any color you like, but it is important that the tone of the pastel is only one notch lighter than the paper–just enough so that you can see your marks. The blue outlines here are Prussian Blue, one of the darker blues

Warmer or Cooler

In this image, I am beginning to block out the entire paper. The background walls, in reality, are white and the floor is a wood floor. When I work with pastel, one of the things I ask myself is whether the color is warmer or cooler. The white of the wall is cool and the orange of the floor is warm. Then taking a cool dark color, almost any kind of blue or green, which is one step lighter than the paper, I blocked out the background wall. Then, with the same idea, yet with a warm color, a dark burnt orange, I did the floor, her body, and the shadow of the cloth.

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