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Recently, in my class I talked to students about what elements in a painting draw the eye.

There are many things, but one of them is texture. An artist can either replicate it, or allow the paint or pastel itself become very textural.

There are times when you would want heavy impasto strokes...and times where the area of a painting needs to be more quiet.

"Precious Gold", pastel, 16x18

Here is a painting where I really piled on the pastel in the lower right third, to bring that area forward.

This is a close up, where you can see the very heavily applied pigment in the yellow orange strokes.

Using thinly appled paint, or delicately placed, or blended  pastel will have the opposite effect.

Here is an example of that.

"Outback Pastoral", pastel 12x16

You can see a lot of texture in the foreground bushes and grasses...heavily applied.

Behind that area, the smaller trees, particularly in the right part of ther painting are delicately painted in with light strokes.

It helps them recede, which is where they should be in the painting.

Light strokes or paint versus heavy, thick, juicy paint. It makes a difference in a painting !

Thinking about it while painting can help to create depth.

This past weekend, I was in Phoenix, as I was asked to judge an exhibition for the Arizona Pastel Painters Association.

I had selected the works for the exhibition a few weeks previously, from images sent in digitally  as entries. That part wasn't terribly difficult, as there was room for many paintings, and so the group was well represented....and it is a task that I have done many times previously. 

The resulting exhibit is of eighty paintings, and from that there were four awards, and four honorable mentions.

This part was quite difficult. 

After the works were hung and lighted, many looked a bit different from the digital images , but that is to be expected.

There were many excellent works, and I honestly wished that there had been more awards to hand out.

What do I look for?

One of the first things is good design throughout. I take a quick walk through,or look from the center of the room, to get a sense of those works that read well from a distance .

Good color choices, well placed and spaced elements, edges, and value scale all play a part in good design, or composition. Composition is sometimes one of those things that you do not necessarily notice if it is done well, but you do if it is done poorly. 

Then I take a more contemplative walk through, making notes of those pieces that stand out.

One of the things that is important to me is whether the artist's intent is conveyed to the viewer. I want to see the initial inspiration for the work, and enjoy it along with the artist. This can be handling of the light, beauty of strokes employed, or a mood conveyed well, for example.

Other considerations are good drawing skills, and technical ability with the medium.

I was asked to also have a work in the show, as an example of the judge's work.

 This particular piece had also been subject to a jury, and was part of the American Impressionist inaugural small works exhibition.

To view the Arizona show , you may visit https://apaa.wildapricot.org , or google Arizona Pastel Artists Association.  

Perhaps you would have had different choices, but that is all part of the process! 

As you may know, I have been spending a LOT of time in the studio getting ready for a few shows.

After the work was painted, finishing touches placed,  photographed, and then framed, I spent more time in studio on the computer, marketing and promoting  the shows.

So, I was just itching to get out and just paint...from life.

So, early one morning this past week, I took my pastels and set up on the new patio area. There is a nice new vista that has been opened up, and I made sure to get out just as the first splashes of sun were touching the cactus and mesquite.

This was balm for the soul.

As I began, the sunlight  was a warm peach color, and shadows were lavender. As the sun rose, shadows deepened a bit, and the light became more yellow and I recorded the subtle changes as they were happening.

It was just so peaceful...ravens flew over head, and I could hear the whoosh and beat of their wings. I saw something out of the corner of my eye, and watched a hawk swoop and gracefully glide down over 150 feet to its'  breakfast. 

I felt a slight breeze, and the sun become warmer.

I stopped before the colors and shadows changed too drastically, and went back to my necessary tasks feeling refreshed, and invigorated.

Ahhhh...I can't think of a better way to be and feel more in the moment.

I have always said that working from life helps to keep me honest , also. By that I mean it keeps my observational muscles limber,prevents me from getting complacent and in a rut, and my  senses sharp.

So, just need to make sure that I take the time to do so again...soon! 

This fall, I am lucky enough to be a featured artist in two separate shows.; one of which could be considered a solo show. Each involves a body of over 20 paintings, and each is different from the other.

Since I am a veteran of many solo and group exhibitions, I am not panicking, even though one of them will have an opening reception this coming Saturday. I will likely be a wee bit jittery, just before the opening,but that is quite normal.

I thought I would write about the preparations leading up to an exhibition. 

"Milky Way Mesquite" is one of the pieces that will be the show " Night Lights", at Old Town Frame Company, in Cottonwood, AZ.

I'll backtrack waaaay back, and tell you how it all comes about.

I had approached this lovely space when they moved from another location in to a busier, more visible spot. I started out with very small pieces , and did sell a few. I suggested a show of nocturne paintings  to the owner , and he liked the idea, finding a spot in the calendar when it may work. 

So, I set to work looking at paintings that go along with the theme, and creating several brand new pieces in this genre, giving myself a few months to paint. As I went along, all of them were photographed. I ordered frames and glass for the pastels...most of them will be presented in identical frames. I designed and ordered a postcard to hand out to people with both of my shows, along with another event, with dates, times, and places listed clearly. Since I actually like to write, and I was asked to, I wrote press releases, along with images for each. Along with press, I have been posting a few of the images on social media, to web sites and groups that I belong to and I will send out an e-blast this week.

Since I'm using standard sizing for the most part, I'm doing the framing myself,  in ready made frames  that will hang together nicely.

The second show, hanging now, is at Sedona's City Hall complex. This one came about when the director of the city's art programs visited my space during an open studios tour event. Very different space, with a need for large pieces. I wasn't concerned about filling the space, as I had several pieces that are 20x24 and larger. I am a somewhat prolific painter, and I continue to work, even when I do not have set opportunities for exhibition, so along with some new paintings, I also have twenty works in this show. I do send out work consistently to various juried shows across the country,  so  I always have several gallery quality pieces in the studio. I was inspired to create a few new pieces for this one...all with a "glowing red rock landscape " theme...called " Sedona Pathways.

I approached the project  in much the same way, as far as all of the details and preparations went. Really, the only difference is that these are large pieces with a Sedona theme. I will bear in mind that these pieces are suited to corporate or large residential; the nocturne show more residential, and with the coming gifting season in mind.

"Technicolor at the Crossing", 18x24 is in Sedona City Hall.

You could say that these opportunities came about from persistent and consistent work over the past several years. It is what I meant when I mentioned going way back in time. To put together a good exhibition, I feel that it is important to have work that reads well together stylistically, and that it is all of a decent quality...no clunkers allowed! I always want to put my best foot forward. 

So, for me, being ready for shows really means steadily working with the subjects that I love, in my signature impressionist style, whether I have an exhibition scheduled or not. That way, when opportunity comes knocking, I am ready! 

It is always exciting to take part in a national exhibition; particularly for the AIS shows.

This year's event was at Park City, Utah.

It is still going on, through October 28.

AIS does a wonderful job with events, seminars, panel discussions, a paint out, an exciting opening reception...and good food and drink, throughout!  Debra Joy Groesser and husband Don, president and treasurer, respectively  deserve so much credit for this wonderful weekend, and impressive show. 

I was lucky enough to have been a show participant, but there were many attendees who do not necessarily take part in the show, but get a lot out of the the well planned educational and networking opportunities.

For me personally, it was " filling the well"', as I was invited to stay in a wonderful retreat in the woods, courtesy of Elizabeth Robbins, a lovely lady, and terrific artist.

The property has been in her family for many years. The others that I was lucky enough to stay with are Shanna Kunz, Lori McNee, Howard Friedland, and Susan Blackwood ...terriffic artists all. So, you can imagine the great conversations that took place...very stimulating and inspiring. 

So, if you have an opportunity to take part in a national show near you...and many of them are hosted in various cities across the country, do! 

You just need to be an art lover.

So, now it's back to the real world, after my recharge.

Thank you, AIS!