Teaching a workshop

Teaching is something I've always entertained as a possibility during various points in my life. My patience level has never been the best, however, and it's a quality among those of the teaching profession that I have always admired. I clearly couldn't have taught elementary school. Third graders, I suspect, would have trouble getting their little mitts around my sense of humor.

When I was approached last fall by fellow colored pencil artist, Autumn Huron, to teach a pastel workshop in May, I admit I was a bit wary. But the more I thought about it, the more I thought I would give it a shot. Afterall, the Colerain Artists Guild would not include third-graders.

The first thing I do whenever I have to make any presentation is "The Five P's." Prior Preparation Prevents Poor Performance.

I outlined a plan (just like a real teacher), and assembled my supplies accordingly. I decided to start with basics. Making assumptions that all artists have done a media was the incorrect approach.

Colorfix

Perhaps moreso than with any other media, the basics in pastel surrounds the support of the artwork. With watercolor painters, for example, you start with Arches watercolor paper and end there. Anything else, really, is a waste of time.

Pastels are the other extreme. You can work on a lot of different surfaces. I prepared the four most common on Masonite board so I could pass them around to the members attending the workshop.

The most commonly seen, and perhaps used, surface is the Canson Mi-Tientes paper. It has a slight texture and is good for pastel, but I found, as I mentioned in the presentation that it really doesn't have much tooth. It doesn't take many layers and after a point, the pastel won't cooperate.

Canson Mi-Tientes

The next textured paper I have used is the Colorfix Sanded paper. It is an excellent product and it will take a lot of abuse and layering. It's also pretty pricey.

The third I passed around was Velour which I have also used on a couple of pastel paintings and I really like its texture. It doesn't hold pastel very well, however, but its positive is that it is so darned soft and willing to help you as an artist as much as it can.

Velour

The final product is what I use most often and that's Richeson Sanded Paper. The texture is a more gritty than the Colorfix and, for my style of pastel painting, it suits me best. 

The next part of the presentation was noting the difference between oil pastel and "soft"/chalk pastel. Within the pastel family there's at least three steps or grades to use. The first is Nupastel, a stick produced by Sanford (Prismacolor) and it's hard. Great for putting down the first layer and perhaps at the end for fine detail work

The second is the Rembrandt level pastel which really carries the load. This "medium" level makes up about 75-85% of your painting. The third level is your softest brands and there is a large variety to choose from. My favorites bounce between Unison, Terry Ludwigs and Great American (made in Cincinnati!). Sennelier makes a soft brand as well, but it is not one of my favorites.

Work space with Velour "Mr. Lou" in background

With my table all set up and ready to go, I began working on the painting based upon the photo that I brought with me. Simple photo -- two apples and a banana. Having attended a number of workshops myself, I tried to follow what has been helpful to me -- having the instructor talk about what he or she is doing WHILE they are doing it. 

I admit that I was more nervous than I thought I would be. Artists are always told that they never do their best work in a workshop. Well, I wonder if teachers think the same thing! My painting worked satisfactorily, but it wasn't as good as when I have done this same piece in my studio. 

Yours truly starting painting

The sort of finished product

I easily went longer than the 30 minutes Autumn had originally suggested, but I hoped that when all was said and done that the ladies in attendance learned even a little something. I had a good time. And the "teacher" learned a few things too. For one, it's okay to breathe. It helps alleviate the jitters!

Painting and more painting

The more I am painting, the more I realize how much I enjoy doing it. I work once a week painting with water soluble oil paints with instructor Ken Buck at the Essex Studios, and once a week in oil paints with my good friend, Todd Price. I am actually -- finally -- gaining more confidence with the brush. It's such a great feeling to know that you can actually fix a mistake! That colored pencil anxiety just isn't there. It's only paint! (My new mantra). If you don't like it, paint over it and start over, rearrange, add, subtract and -- all on the same surface!!!! I don't have to throw my Stonehenge colored pencil drawing out after 6 weeks and start over again! So cool!

WIP: Water soluble oil/Part of Romance Series

My other big concern when I first starting painting was "So I mix these paints and get this cool color ... how do I do it again the next day." Two key things that Todd Price has taught me -- limited palette and his weekly reminder -- "You mixed it once, you can mix it again." And you can. Especially with that limited palette.

And, like anything else, the more you do something, the more comfortable you feel. The more you mix Prussian Blue and Van Dyke Brown and a hint of Indian Red or Magenta -- you get Black! It works every time. I impress even myself.

There is, as I have noted in previous blogs, a decided difference between oil paint and water soluble oil paint. Regular oil paint is the way to go for me. At least right now. I keep working the water soluble though in hopes I find the right mojo.

Where have I been?

It has been quite a while since I've posted anything whatsoever. I have to admit I'm still chapped from not getting accepted in to the CPSA International Show this year. I've actually written three blogs addressing that issue, but as much as it is against my inherent nature, I am trying to tone down my comments. So the first three attempts remain unpublished in "draft" mode. The next blog or so will probably include my observations and criticisms. Part of me says to publish my first rant -- I'm not sure if anyone reads my blog anyway. I keep thinking time will assuage my feelings. Nah ... not really.