This week students learned about analogous color combinations. This is done in purple to blue, moving around the color wheel a few steps. Using a limited pallet keeps things more in control and less expensive with less choices. Which should mean a lot more integration and choices of when not to integrate the color of the area and separate it out. The tree in this landscape is not separated from its environment. The edges should be soft by cross hatching layers of color on top of each other. Remember light to dark, bright to dull. If you follow this the mark making should be less visible. The artwork should slowly come into focus and the sharpness of any edge should arrive thru your desire as an artist to create that edge. Photographs do that…not everything is purely in focus. Don’t rush the process, make concise decisions and let the artwork guide you. It is not about finishing it is about a good process.
Lexington Arts and Crafts Society
1. Continuing beginning painting class in oils & acrylics:
March 22 for 8 weeks – 1-4 Thursdays
2. Pastel, All levels for 3 classes March 22, 29, April 5th – 6-9 Thursdays
3. Drawing, All Levels for 5 weeks, March 24, April 7, May 5, 12, 19 – 9:30-12:30 Saturdays
Worcester Art Museum
1. Oil Stick class, April 9th, 9:30-4, one class, Monday
2. Colored Pencil classes, starts, May 7, 6 weeks Mondays
Fruitlands Museum in Harvard, MA
All levels painting class, Painting the landscape, April 24 – June 12, 9:30-12:30 – 8 weeks – Tuesdays
Ryan Estate in Lincoln, MA
Wednesdays, starting May 2-June 6 7 week class Acrylic Or Oils 9:30-12:30 Level: Beginner/Intermediate
The Creative Process: Solutions for our Paintings
This class is designed for the student who is new or one going that has painting issues that need to be addressed. All painting issues are helpful to all students. Perhaps you have a painting that you never finished or drawing that you always wanted to turn into a painting. Than this is the class for you. Through demos, critiques and process we will get down to the issues of what you need to move forward in your work. Come and explore.
I am looking forward to another wonderful spring time of classes and continuing to work with some of you and meeting some new students as well. Below you’ll see an attached registration form.
To ensure your enrollment, after the discount, please send me your completed registration form and payment of $266 registration fee
Directions to the Ryan Estate and a supply list will be mailed upon registration.
Please make your check payable to Jill Pottle and please mail to: 296 Lancaster Ave. Lunenburg, MA 01462
Contact me for registration form:
Here are two examples of the use of pastel. This first demo is of oil pastel. It is similar to watercolor in that the medium is translucent and you must save your lights. If you loose your lights you can scrap them back out or coat them with Acrylic Medium to make a dry spot to put on more. Oil pastels are greasy, so you have to go slow in your application. I work on BFK Rives printmaking paper.
The second demo which is listed under Chalk Pastel is applied light to dark and bright to dull. These cover easily and white is extremely opaque. Work up to mixing the colors on the surface and get rich colors going from the beginning. I work on the brand Canson gray paper…the opposite side of what looks like rough.
A Demonstration of dry hard pastel on paper.
This is a photo of the still life that I am creating a pastel of. I only work from life not from the photo. Photos tend to be limited in color and it is hard to perceive the edges of the forms unless working from life. After doing numerous sketches and studies and also rearranging the still life to get a successful composition, I am ready to start the drawing.