Archives For Pastelbord

Family Farmhouse

marylizingramart —  December 13, 2011 — Leave a comment

After a slow few months of art production due to the lovely symptoms of pregnancy, I’m finally back at my desk! With a baby girl kicking at my belly whenever I squash her against my art table, I have recently completed this family farmhouse, bringing together about twenty photos to include many family memories of a very kind lady.

In order to incorporate so many features, I approached the piece with a leaning towards folk art rather than perfect realism and proportion. I used the same set of colors throughout the painting to keep the images together as a whole. My sweet client and I are both happy with the finished piece, and I am looking forward to beginning my next painting!

Family Farmhouse, 18×24 soft pastel on board

In Alabama, Art, artist, Birmingham, commission, farm, farmhouse, Ingram, Liz, Mary, Pastelbord, pastels, Rural, Sennelier, soft pastel, Southern
permalink

Roman Columns

marylizingramart —  October 2, 2011 — Leave a comment

Roman Columns, 18×24 Soft Pastel on Board

Here is the fourth installment in the Italian series done by commission for a private collection here in the Birmingham area. My husband and I took a photo of these dramatic columns in the Roman Forum years ago, and I have always thought they would make a beautiful pastel!

In Ampersand, Art, artist, Birmingham, columns, commission, Ingram, Italy, Liz, Mary, Pastelbord, pastels, Roman Forum, Rome, Sennelier, soft pastel
permalink

View from Fiesole

marylizingramart —  August 22, 2011 — 1 Comment

View from Fiesole, 24×36 commissioned pastel

This is the newest addition to one of my most gracious client’s collection of pastels. “View from Fiesole” will hang with the “Trevi Fountain” and the “Spanish Steps.” And there is one more pastel of Italy to come, so stay tuned!

The Trevi Fountain, 24×36 Soft Pastel

The Spanish Steps, 30×30 Soft Pastel

In Alabama, Art, Birmingham, commission, fountain, Ingram, Italy, Liz, Mary, Pastelbord, pastels, Rome, Sennelier, Siena, soft pastel, Spanish Steps, Trevi, Tuscany
permalink

The Coast of Maine

marylizingramart —  August 20, 2011 — Leave a comment

The Coast of Maine, 16×20 Commissioned Pastel

I love the challenge of drawing the ocean, and especially the ocean spray as the waves crash upon the dark rocks. This piece is similar to my earlier pastels of the Scottish coast, with the wonderful contrast of darks and lights. I love using the many blues, greens, and whites intermixed with the unexpected hints of burgundy and ochre hidden in the water. The rocky coast in this particular piece was very interesting, with its striated texture glistening in the sun.

In Alabama, Ampersand, Art, Birmingham, commission, Ingram, Liz, Maine, Mary, ocean, Pastelbord, pastels, seascape, Sennelier, soft pastel, waves
permalink

“Paper from the Past”

marylizingramart —  August 12, 2011 — Leave a comment

At an art show last spring I met a fellow pastel artist and, after some discussions about techniques, we did a paper swap. I gave him a piece of Sennelier La Carte pastel card, and he generously gave me a large sample of a pastel cloth. I like to call this one “paper from the past,” because a) he bought it a very long time ago and can’t remember the brand, b) after research, it is very hard to find information about pastel cloth, and c) it doesn’t seem to be made much anymore, if at all.

I discovered two possible sources for pastel cloth, which comes in a roll and is a synthetic, unwoven fabric, with a coating similar to sanded papers, that will hold layers of pastel. NY Central Art Supply and Sennelier both make/have made a pastel cloth.

The cloth can be cut to the desired size, but needs to be mounted or secured in some way to keep it from curling. It can also be stretched like a canvas. Since I was experimenting, I just taped all four sides down with masking tape.

I cut several pieces and taped them down to a board and decided to try a few things. First I layered some pastels, browns, oranges and ochres, and painted with a brush and water. Then I added details of a lily in my yard. The result pleased me well enough: the paper held the layers well, the water did not affect the paper adversely, all brands of pastels that I tried worked fine (Sennelier, Rembrandt, Gallery, Derwent pastel pencils). 

5×7 Soft Pastel on Pastel Cloth

For the second “test” I tried a simple picture with my usual techniques. Again, the results were satisfactory, but I felt that the texture wasn’t as deep as I usually get by layering on Ampersand Pastelbord or Sennelier La Carte pastel card; the colors blended just a bit more.  

While I enjoyed trying and learning about a different surface, the benefits of pastel cloth, mainly the texture, are overshadowed, in my opinion, by the downside of it being a cloth. My “verdict” is biased because of my preference for a hard board or card on which to work, and it seems like an unnecessary step to mount the pastel cloth on a hard surface when I could just buy another surface with a similar texture that is already sturdy.

With pastel cloth being hard to find, and made somewhat irrelevant by the numerous types of sanded papers that can also be used with wet or dry mediums (such as Wallis Paper), it may be more convenient and less frustrating to try another surface.

But to those who already have pastel cloth, or like the ability to stretch or mount it onto the size and surface you want, you can create some beautiful pieces of art!

Check out the art by my friend Daniel Curry, who has done several pieces on pastel cloth and so kindly shared some with me!

View his work at www.dcurrycreations.com

In Alabama, Ampersand, Art, artist, Birmingham, Ingram, Liz, Mary, Paper, Pastel Cloth, pastel pencils, Pastelbord, pastels, review, Sennelier, soft pastel, texture
permalink

Pair of Horses

marylizingramart —  July 27, 2011 — Leave a comment

Pair of Horses
16×20 soft pastel on Pastelbord, $350 framed

My newest piece…

I’ve been wanting to draw horses lately. Drawing a horse’s body, with it’s distinct muscles, long legs and neck, is very different from drawing a cow or a sheep, with their stocky, thick bodies. The light glows off of the horses sleek curves; the gracefulness of the animal invites me to pause and reminisce, to think of the wonder in our world, the beauty in the family of things, of which we are a part. I think of the freedom of childhood, the rush of life. Through the beauty and being of a horse, I feel an echo of emotions, a connection to something unspoken.

In Alabama, Ampersand, Art, Birmingham, horse, Ingram, landscape, Liz, Mary, Pastelbord, pastels, Sennelier, sky, soft pastel, Southern
permalink

A Re-Do with Bob Ross and Michelangelo

marylizingramart —  April 17, 2011 — Leave a comment

When teaching art classes, especially to children, I like to encourage them not to use an eraser. As Bob Ross said so often, “happy accidents” happen a lot in art and “mistakes” can be turned into something else, often improving a picture beyond the original conception. We could talk about the beauty of unplanned discoveries, the surprises found in the creative process…

But sometimes, you just want to start over. Sometimes you need some major changes.

When you spend so much on a high-quality, archival surface, it hurts to waste it, but you can’t make a whole new picture on top of an old one in pastel, right? I mean, of course you can paint over a painting in acrylic or oil, but surely not pastel…it would smear and blend! Or would it? My answer: it depends upon your surface and the thickness of the pastel already applied.

On paper, if the pastel has been applied lightly, you can have a “re-do” without too much trouble, depending on how well the new subject meshes with the old. On papers, the pastel blends and smears a bit more and new layers to not adhere as easily, which can be frustrating. Since paper is more inexpensive than other textured surfaces, it may be your best bet just to start a new piece.

If you use a sanded paper, such as Sennelier La Carte Pastel Card, the textured surface allows you to add a heavier amount of pastel on top of pastel due to the gritty surface that grips the color and prevents as much unwanted smearing/blending. Wallis Paper allows you to gently wash off some of the pastel, and also has a sandy surface to hold more pastel, but you have to be gentle and let it dry thoroughly since it is a type of paper/card.

If you use a sturdy, textured Ampersand Pastelbord, you have several options. You can a) wash it off in the sink and let it dry, b)use a kneaded eraser and pull up a lot of the pastel (a good technique for any of the above surfaces), or c) just draw right on top of it, which is what I did with the picture below. I was drawing some sheep on a gray Pastelbord, and just wasn’t “feeling it.” I didn’t want to draw sheep on it anymore, so I “buried” them under a Celtic stone. I had already applied several layers of mostly white and black for the sheep, and had even redrawn the sheep in some different positions, before I began the cross. But, as you can see by the detail picture below, it did not hurt the texture or amount of pastel I applied later.

Celtic Stone, 8×10 Soft Pastel on board

Detail of Celtic Stone

The other night, my husband and I were watching a PBS show “Secrets of the Dead: Michelangelo Revealed.” In the show, they showed how Michelangelo made great alterations to finished marble sculptures, such as the Moses found at the tomb of Pope Julius II. Michelangelo recarved Moses to turn his head in a whole different direction. In stone! If Michelangelo can have a re-do with stone, surely we can in pastel!

In Alabama, Ampersand, Art, Birmingham, Bob Ross, Celtic, Correction, Ingram, Liz, Mary, Michelangelo, mistake, Paper, Pastelbord, pastels, Sennelier, soft pastel, Stone, texture, Wallis
permalink

Hay Fields

marylizingramart —  March 18, 2011 — 1 Comment


Hay Fields, 12×16 Soft Pastel on Board

I love pastels, and I love teaching. Because of the nature of this dusty medium, it is hard to demonstrate to a large crowd since I cannot easily draw the picture upright, as on an easel, as the pastel dust cascades down the board with each stroke. To remedy this problem, in a recent pastel demonstration for the Birmingham Art Association, I inclined the board a bit to make it more visible and drew upside down, standing behind the table. My unorthodox method worked and here is the finished result: a colorful landscape that began upside down and was touched up a bit at home. I like the bright colors and think it is a pleasant, simple little scene.

In Alabama, Ampersand, Art, bale, Birmingham, Birmingham Art Association, Demonstration, farm, hay, Ingram, landscape, Liz, Mary, Pastelbord, pastels, Rural, Sennelier, sky, soft pastel, Southern
permalink

The Spanish Steps

marylizingramart —  March 11, 2011 — 1 Comment

After a few weeks, the Spanish Steps are finally complete!


Since the piece is so large and bulky (30×30″), I moved my workspace from my art desk to my kitchen table, propping it up on a makeshift platform of a pastel box and French box easel. I used the grid method to make sure I got this technical subject correct, checking angles and being careful to keep my lines straight. I use a grid, dividing the space into quarters first and then lightly into 16 spaces, only occasionally when enlarging to such a great extent. I sketch first with pencil, making only a few corrections by pressing with a kneaded eraser (never rubbing as it damages texture); I just draw over “mistakes” rather than spend time erasing, since the pastel will cover any marks-gone-awry. Over the correct pencil marks, I redraw with a charcoal pencil to give it more substance and to ensure no parts get “lost” in the vibrant pastel.


After the Spanish Steps were drawn and my area prepared, I began layering the pastel. Working on my self-prepared Pastel Ground surface proved different than I first expected. To the touch, the texture felt fine and grainy like a Pastelbord, but when I began applying the pastel for my sky, I found it more bumpy than sandy. At first I was frustrated working with such a rough texture that showed every pastel stroke. As I moved on to the rust-colored buildings, I embraced the difference of surface and adjusted my application to a more Impressionist-like, unfinished stroke, and with perseverance, am finally satisfied with the result.

I like the roughness I see when I look closely at the fountain, and it reminds me of some of Degas’ gritty looking pastel drawings. In the future, I will choose my surface based on the result I seek, adding Pastel Ground into the mix when I am looking for a deeper texture. This project was a learning experience and I am pleased to have been able to “experiment” a bit more than usual.

In Alabama, Ampersand, Art, Birmingham, commission, fountain, Golden, Ingram, Italy, Liz, Mary, Pastel Ground, Pastelbord, pastels, Rome, Sennelier, soft pastel, Spanish Steps, texture
permalink

A New Project

marylizingramart —  March 5, 2011 — Leave a comment


I am currently working on a commission for a large, off-size pastel of the Spanish Steps in Rome. Since my preferred surface is a sturdy, textured board, and Pastelbords don’t come in 30×30″, I have embarked on a new adventure: preparing my own textured pastel board. My first challenge was finding some sort of board in the size required. While in retrospect I probably could have bought and had cut a piece of Masonite board, I chose a 30×30 encaustic board in a frame, thanks to the help of my friends at Forstall Art Center.

The next step was to apply the texture with my jar of Golden’s Acrylic Ground for Pastels. I tested the ground on some smaller boards first, dividing the board into quarters and trying different methods of application: straight, smooth brushstrokes; crosshatched brushstrokes; random, mottled brushstrokes; smoothed with my fingers; and finally, gently sanded areas to soften the texture. Once dry, I tested the surface with several bright and contrasting pastels, looking for good coverage and hoping for uniform texture. Alas, the coverage was good, but all textures were lacking. After doing a bit of research, I settled into thinning the pastel ground with 20% water and applying the medium smoothly and uniformly with a foam roller that I bought for about $1. Perfection! It looks and feels so much like a Pastelbord, and I am very satisfied.

More on this project soon to follow…

In Alabama, Ampersand, Art, Birmingham, commission, Forstall, Golden, Ingram, Italy, Liz, Mary, Pastel Ground, Pastelbord, pastels, Rome, soft pastel, Spanish Steps
permalink