When art touches lives, Boy's Night Out, 14x14

"Boy's Night Out" 14x14" Plein air Oil on panel

You never know when your art touches lives. Let me tell you a story that happened a few days ago that I must share.

As I was painting a nocturne with 3 other artists in downtown Hillsboro, several people were walking about after dining out on the town. As pedestrians gathered on the street corner, across from where I was painting, I quickly suggested one of the figures in the scene to bring much needed life to the painting. The pedestrians crossed and stopped to look at our work in progress. I asked the gentleman,  whom I began to sketch into my painting, if he would care to stand just a little longer for me to finish painting him standing on the corner. He was happy to do so, along with his young son, which made the painting come alive.

The following day, I emailed to thank him and he shared a sweet story of this scene.  He writes,

"Thanks for letting us watch you.  Also that's one of our favorite street corners because for years I used to go to Hillsboro Hobbies with my Dad and now it's my son's favorite place to go with me. We always park on that side of the street and would cross over to the hobby shop. When I was little, I remember jumping up and down with anticipation, waiting for the light to change.  Now my son does the exact same thing!  Also, the corner you were painting from is the spot where we watch the forth of July parade.  Thanks for letting me purchase it. It captured a lifetime of memories."

How could you not feel good about bringing such fond memories to life?  When I paint a piece, I sometimes forget to find the meaning behind my subject because I am out just for the process of painting, but then there are other more obvious times when an emotional connection can be made. Those are golden times! It's kind of like fishing for a needle in a haystack. but when your painting can connect emotionally with another, you have touched someone's life...including your own.

How has your work connected with others? Please share.

~ Brenda


Roy Rodger's Woods, 6x8

Roy Roger's Woods, 6x8" Pastel

This was a quick 1 hour plein air demo for my Advanced Pastel students yesterday. It's a small piece just big enough for a quick demo. The morning light was really beautiful for a fall day, and so I picked this particular scene because the foreground and background played upon the wonderful glowing atmosphere. This was painted on the West shore in Lake Oswego overlooking the Willamette River, OR.


Dawn Over Day, 9x12

Dawn Over Day, 9x12" Oil

Fall is nearly hear and so I rush out to go plein air painting before the wet, chilly weather begins to unfold and keep me indoors. Some days are packed with responsibilities that I find it hard to get the time to work, especially before a big plein air event, and so I get up at the crack of dawn to paint a sunrise. This piece was painted just a mile from my home where there is a small wetland that is hidden by suburbia. I love finding spots like this. The slow moving water hosts mallards, beavers and frogs with plenty of space to live. They are challenging to paint because the little critters are in constant motion, just as the sun rises at an iridescent pace. It was a magnificent show.


Phooey, I says! Suggested Direction, 8x10

"Suggested Direction" 8x10"  Pastel en Plein air   ©Brenda Boylan

Warning! To be read with "tongue in cheek"

While I go about my errands being the friendly that I am, I oftentimes encounter people in conversation while standing in line at the bank, at some customer service desk, or at the Dr's office, or even while I am out painting plein air, and more than likely they will ask me what I do, like, really do? When I proudly tell them I am an artist, I am more than saddened when the reaction is faced with a kind of curious disbelief. It makes me feel rather odd, like I am irregular, or I'm out of pace with reality. It must be that fancy calligraphic, bold font tattoo that sits upon my forehead that reads "CrAzY!".    

It amazes me that there are hundreds of thousands of artists who live a creative life and carry on their business that the general population has never heard of the artist profession before, like the impossible of impossibilities. My head rings and tremors when I here people say...uh, it's hard to even write it, "starving artist". I just s h i v e r e d when I typed that... or even some lesser term for those who often struggle to get by with their talent. How many people do you know who started a business and struggled, failed, or succeeded? It happens all the time. Yup. Sadly, it is quite possible that the stigma of the "struggling artist" will never vanish from our vernacular. Phooey, I says!

What do you say or feel when someone tells you they are an artist, musician, dancer, or actor? I'd love to here.

Now if I could only wash off that tattoo!



How do you Inventory your Artwork?

Whenever I here the word inventory, I nearly get ill to my stomach. The word takes me back several years to a time when I was willing to do most anything to save money for college. My sister had a contact for an automobile parts delivery clerk, and I filled the position. It was the pits, a play on the store's name Pitzer's, but really, it was not a great job for a petite gal in a man's world. The others often tested me, giving me inventory to move from one place to another that was 3 times too heavy for my size and ability. After a year of delivering parts, they moved me into the "Inventory Controller" position because the position was abandoned by the previous employee, and nobody wanted to do it. That should have been a clue to me right there that it was going to be a downhill slope. No one trained me, it was a job that I had to figure out myself with bits of information thrown at me from time to time. Besides being a creative, anything that had to do with numbers was not on my radar, and by the end of the year when the company had to take their yearly account of gaskets, bolts, batteries and spark plugs, the system was pretty messed up and therefore I was fired. But I digress.

Back to the present.

If you are a prolific artist producing for brick and mortar galleries, fairs, or sales venues online, you must take inventory of the what and where your work is. But how? You must first take into account your ability to commit as well as adapt, and I am a bit biased and old fashioned. Remember, I didn't have the best intro to inventory as a youngling.

There were a couple of systems that I have used in the past. I started out with a program called Working Artist. It was clunky and buggy, but I spent my hard earned money on it and that is what I stuck with. Then the programmer discontinued the update as computers were evolving, so it went belly up. Then I picked up Art Tracker and used it with success, but when I upgraded my computer, the system was not supported. As with the times, computers improve and new systems are introduced every day.  Just Google "artist inventory systems" and you will find a plethora of choices that are pretty much on a cloud base system.  But what if you are still trying to figure out what the heck this cloud is?

I just may be a bit old fashioned, stubborn, or biased, but I decided to track in a most old fashioned of ways.  I have resorted to creating a spiral bound book where I handwrite information of each piece into and then clip and tape each images with the info.  Yes, it's outdated, but I'm gonna give this a try before I plunge to the cloud and pay a yearly fee. This simple idea was shared with me in a workshop with pastelist Marla Baggetta back in 2011. It seems very archaic, but hey, I figure it won't be discontinued, bugged, or downgraded to a slower system. In the meantime, what do you use to track your artwork and what you like most about it? I'd love to know.

~ Brenda


Permission to Paint, Pontzloff's Barn 16x20"

"Pontzloff's Barn" 16x20" Pastel

As a plein air painter, there are some scenes that just have to be painted. When these scenes come across my path, there is usually some negotiating between conscience and safety. This scene in Door County was one of those times.

My host Ron had strongly recommended this location to paint, giving directions and commentary on the property. Now while I have encountered a few farmers in my artistic journey, I have never come upon one so completely misunderstood. My painting buddy for the day, Carol, came along with me to paint this barn. First, let me back up a bit;  a few days prior a fellow artist shared with me that he stopped to paint a "perfect barn scene", but unfortunately was "kicked off by a mean and ornery farmer" so quickly that he nearly dropped his painting butter side down. Being armed with this information, Carol and I parked our cars and carefully surveyed the property. It was a beauty of a Midwestern farm. The accompanying house looked as if it was empty, and besides, it was 6:00 am and we didn't wish to wake any inhabitants.  Carol set up on the property facing South and I viewed from the across the narrow road facing the property, as seen here in the photos below.

Carol's colorful subject.

My View. The light and shadows created a lot of drama.

My set-up nearly on the road, but still on the property.

About an hour into our work we heard what sounded like a screen door slamming. Then an old voice yelled out "Hey! What the heck are you doing there! Get off of my property! You people all come around here and take photos and paint pictures for a lot of money, and not a one of ya ever share with me what you make, or share a photo of my barn! You git outta here!"

You can imagine my panic as I feverishly tried to piece my pastels back into their little slots and tear down, resolving that this was a done deal. But Carol was so sweet. In a calm voice she begged for us to remain and to allow us to paint his barn. She even offered him 10 bucks and a coffee mug with one of her paintings printed on it. He said "gosh... no", and continued to ask us to leave, shaking his tired, pointed finger at us both. Yet, he began to interact more on a slower note. 

He stumbled across the street toward me, and I began to search for some common ground between us. Having recently viewed the documentary "King Corn", I had a good idea about the challenges independent farmers encounter while making a living off the land. 

The farmer's home and his wind-torn wind mill.

I observed his age and position in the environment. He was probably around 90 years old and perhaps served in one of our wars, so perhaps he was a veteran?  I thought, "Find a compliment, somewhere".... and so I began to ask him questions about him and his barn and silo, sharing with him that my own Grandpa Bartel was a farmer in Oregon. I spoke of my Dad being raised on the family farm, how we'd spend summers as kids rolling in the fields of mint or climbing upon the bales of hay stacked dangerously high in the barn. I shared with him how our old family barn of nearly 75 years had been torn down, much like so many of our American barns are sacrificed to corporate giants. The independent farmer has it tough, right? We did have common ground, and we began to speak the same language, Farming. He then shared with me how he has lived there since 1954, when he built the silo, the implement shed, and the windmill that is now wind-torn. He was very proud. I sensed he  was lonely. I asked him his name, "Earl Pontzloff" he said. Then, he spoke softly and shared that he had lost his wife 3 years ago. Here is a man who probably doesn't get much of a chance to relate with those of his own generation, and probably never leaves his property but to get groceries and pay his bills. Did he have family who looked after him? At this point he graciously allowed us permission to continue painting.  My heart was touched, and so I secretly vowed to repay him in some way in hopes that he would forgive all those previous onlookers and artists, and also to allow future artists and photographers to chance to capture a piece, memorializing an American Icon.

Earl Pontzloff and his barn.

When I got back home to my studio, I uploaded a high-res image of my finished painting to Imagekind and then had it made into a decent sized gallery wrapped reproduction.  I had it sent to Mr. Pontzloff followed with a hand written note of gratitude.  I do hope he likes it. But more than anything, a hopeful blanket apology for all those before and after me for stopping by to make art from his structures. I hope it works!

And so, if you are ever chased off of a cool looking farm or private property, just remember that these business people do own the property, work very hard, and have every right to shoo you off. But you have to find common ground to begin a dialogue. Check in with your conscience and safety feelers. Then again, we really should have first knocked on the front door and asked permission.

My finished piece on the easel, "Pontzloff's Barn"  


Advanced Pastel Class Offered

Many have asked if I would teach an advanced series of classes on pastel at the Oregon Society of Artists. Plans have been set for a 7 week series offered in the Fall on Tuesday mornings that offers a different approach to pastels focusing on the medium and all it's unique properties. Here are the details:

7-week Advanced Pastel Class

Location: Oregon Society of Artists
2185 SW Park Place
Portland Oregon 97205
United States
This 7-week series will cover the finer points of pastel painting, including making hand rolled pastels, sanded boards, self portraiture, still life, plein air, and the ever popular timed starts. This series will be offered once a year for 7 consecutive weeks with the exception of October 20th due to instructor absence. The student must display the knowledge and skills based upon previous lessons, experience and instructor approval.  This is a great course for those who wish to push the medium on a broader level,  who have taken my course in prior workshop settings, and wish to continue their education with me.

Session:  7 weeks
Where:  Oregon Society of Artists, downstairs studio.
Dates: Tuesdays, Sept 22 - Nov 1o, 2015   NO CLASS on Oct 20th.
Time: 9:00 am - 12:00 pm
Cost: $325 (includes $35 year membership to OSA) $290 for OSA Members
Easels provided unless you wish to bring your own portable easel.
Student to teacher ratio: 1: 9
You will need to bring your own supplies. (supply list below)
You MUST be a member of the Oregon Society of Artists to take advantage of this opportunity. Membership is $35. and is added into the class fee, giving you all membership benefits. If you are already a OSA member, then the fee will be $290 for the 7 weeks.

Download Registration Form HERE
Download Supply List HERE

Thanks and hope to see a few of you joining in with me on this wonderful adventure!

~ Brenda


Recap of Door County Plein Air Invitational

If you have never been to the Midwest to experience a summer in Door County, WI., then you are in for a wonderful bounty of beauty and warm hearted hospitality. This was my second trip to Door County Plein Air Invitational and it was both challenging and easier than any other event I have participated in. The culture of the area is pretty laid back with plenty of scenery to last a lifetime of paintings, and good down-to-earth people. I feel like everyone is family when I am there.

The event boasts the "Best Artists", but honestly I just feel pretty special being there even if I was just a vacationer  This smoothly run Invitational offers collectors and art appreciators several opportunities to mix and mingle with the artists. An artist is required to sign up for 2 or more of the 4 days of pre-determined painting destinations where art appreciators can observe the work being created. They feature the Opening Welcome dinner gathering of artists, an evening paint out on the marina with Jazz and dessert, the highly anticipated Gala on Friday evening, a Saturday Quick Draw and live auction that is both exciting and exhausting, all wrapped up with an Open Door Celebration presented by the Peninsula School of Arts.

A work day can last up to 20 hours, while some days are slower paced.  The longest day I experienced was an early 4 am rise to catch a 5:15 sunrise in Bailies Harbor. The day ended at midnight at the local Bowling Alley with those artists who had enough steam to play. Add onto that the the handicap of a Pacific Time zone schedule, I was pretty spent to compete.  Regardless, sleep was a privileged commodity and I slept well.

My experience couldn't run more smoothly without the wonderfully generous hosts and sponsors of the event. I was lucky to be able to return to my hosts' home from last year, Ron and Lois, who were so accommodating, more than I have words to describe.

Here are a few photos from the Invitational.

Welcome Dinner and laughable moment.
Pictured lf to rt:  Featured Artists Greg LaRock, Charlie Hunter, 
Brenda Boylan (me), and Ked DeWaard.

First out of the gate, "Bea's Barn" 14x14" Oil on Panel

Observers Doug and Angie at the Edgewood Orchard Gallery.

My favorite piece, this tractor reminded me of Grandpa's
tractor rides on my family farm in Oregon.

"Blue Cheese 'Brella's" 12x16" Pastel

My finished pieces and me all dressed up for the Gala.
We get to choose 4 pieces for judging, up to 5 pieces if there is enough room.

Celebrating a wonderful event with Carol StrockWasson and esteemed judge Lori Putnam

The closing shot of the crew plus the awesome Peninsula School of Arts staff.

As competitive as plein air events can be, I just go with the expectation to paint my best, enjoy the camaraderie, and make memories full of new adventures. It is always a joy to be "invited" to a big event, sometimes overwhelming, but Door County Invitational sure does it right.



Intoxicated by Plein Air

Largely employed by the sunny weather, I have nearly abandoned my studio life.... and the electric eye. Alas, I take a moment to check in with you and the world beyond my measure. I love the warmer weather and its lure of adventure and color.  My journey is swift and so is this update.  Be well my friend, as I have not forgotten you.  


"An Alternate Route" 12x16" Pastel  Los Gatos Plein Air ©Brenda Boylan

"Brunch at Zeppo's" 12x16" Pastel  ©Brenda Boylan
Lake Oswego Festival of the Arts "Sponsor's Award"  

"Purple Penumbra" 16x20" Oil ©Brenda Boylan
Willamette Valley Lavender Festival Plein Air event, Honorable Mention


Painting Monterey County

"Waiting to Fish"  8x8" Oil  $650 framed

Well my friend, I can honestly say that the Monterey coastline and it's vicinity is practically the best place on earth for plein air painting! I know I've said that of Yosemite, and then Palm Springs desert, and then Hood River, OR., but every time I head out the door to plein air paint, there is always another beautiful scene that tops the prior spot. There is good reason to celebrate our country's scenic spots and all it has to offer us. 

I painted about 9 pieces in all, but I was not as productive due to a bit of gluten exposure which made it difficult for me to concentrate, but I recovered well enough to continue on my quest. My first piece, "Waiting to Fish" above, was a rather quick one at a boat repair shop out in Moss Landing. We spotted it on our drive south from the San Jose Airport. There was a crusty ol' man of the sea, Gordon, who quietly worked inside of this boat while I painted it with my friends. He was trying to fix his livelihood of lives, nestled amidst old shacks, fishing gear, ladders, and mechanical equipment of unknown sorts. Pretty interesting stuff indeed that I secretly promised I would return to paint again someday.

With painting friends Sergio, Michael, Anton, and Jennifer at Moss Landing.

One of the best spots of all was Garrapata. It is located south of Monterey some 15 miles or so, but beware, it is lined with poison oak!  If you ever lose your balance and fall into it while hiking the trail, then you better be prepared to bargain with yourself because this place is well worth the itch. Although I am not allergic to it, I still would have to say it's beautiful beyond measure. The color of the water was turquoise as it crashed upon the cliffs. The "gang" and I met up with pastelist Aaron Schuerr and his 13 year old son Jasper to paint as the sun rose.  The piece below was about my favorite piece from entire trip.

Garrapata Morning  12x16" Oil  $1,400 framed

Viewing north with artwork on the easel at Garrapata.

Garrapata Response 12x16"  Oil $1,400 framed

This was my second one that was just around the bend looking at the Pacific ocean. You might be able to see the shadows cast from the thick paint in the lower left of the piece.  

Painting in Garrapata with Jennifer Diehl

"Pastures of Heaven" 12x16"  Oil  $1,350

Then one morning we ventured out to Steinbeck country, to the Pastures of Heaven, from which he titled one of his pieces. It was so spectacular as the sun rose and kissed the green hills dotted with oaks. We had to quickly respond to the morning's brush of light with paint as it was a fleeting sight to see. While we painted Pastures of Heaven, we had a visitor who happened to be a freelance journalist, and so, shamefully, we got into the local paper. Yup, that's me, front and center!

Garland Eucs"  8x8" Oil  $650 framed

There were many more spots that were just as magical to share with you, but too many to share in one blog entry.  Sergio suggested this one place inland from Monterey called Garland Ranch.

Well my friend, that is about all I can write about tonight, so I'm going to sign off for now. I hope you enjoyed the journey.



Traveling with Oils or Pastels

"Asilomar Overlook"  9x12" Pastel

Painting at Point Lobos in 2014

I just can't sit still! My thoughts are all a jumble because of an upcoming trip to the most beautiful area I have ever seen and painted: California's Monterey Bay and it's vicinity. I guess I'd call it excitement!

Part of my excitement stems from all the things I have to remember to pack. I have to take into account all the painting supplies, it's portability and weight, and my destinations. Not to mention all the personal belongings I have to lug around just to take care of my personal health, but I digress. Did I mention clothes? Oh yeah...one probably shouldn't paint naked, but I would guess it's been done before, although I'd prefer clothes on. Yes, most definitely would, especially clothes for the type of weather.

So, to keep my mind from stressing out and overthinking the trip, I have made lists to keep me organized. Ahh, I can now relax a bit and just enjoy the process. Sometimes I may consider packing all of the items, but there may be times when I will need to edit because of the location, the method of travel, access to extra supplies and what I am willing to do without. It's kind of like camping but for artists.  Here is a list of items that I have put together for you to consider:

Oil Painting

Pochade Plein Air Box  I use an Open Box M
Brushes  I love using flats of various sizes and one very soft Bright Rosemary brush
Brush cleaner/Murphy's Oil
Brush holder
Tripod   I use a Manfrotto befree
Gamsol odorless solvent
Gloves  I use latex free gloves
Baby wipes
Plastic grocery bags for trash
Paper Towels with a bungee cord
Wet Panel Carrier. I use a RayMar panel carriers that are lightweight.
Backpack to hold all of this stuff with pockets for snacks
Oil paint.  I use Gamblin paints simply because they are made here in Portland and I want to support a local business, not to mention their quality to detail.  However, there are a few other brands that I like to explore the use of. I switch my palette out a lot as I love trying out new colors. I do like using a warm and cool color of each primary plus a few extra convenience colors. Here is a list of what I may pack for my palette:

Cad Yellow Light
Indian Yellow
Yellow Ochre
Cad Red Light
Quinacridone Magenta
Ultramarine Blue
Cobalt Blue
Bice  Vasari Brand
Phalo Green
Cedar  Vasari Brand
Raw Umber
Warm White  

Here is my Oil Painting Backpack all ready to go.

Pastel Painting

Open Box M Pochade Box. Check out my blog post on my modified box HERE.  Unfortunately, Open Box M no longer produces this pastel box like this due to it's extensive design.
Pastels   Half sticks in a range of of colors and values
Cotton rag
Gamsol solvent for dispersing pastel for an underpainting
Carb Othello Pastel pencils  Neutral colors work best for sketching out the composition
Pencil sharpener
2" wide masking tape
2  1" wide foam brushes
Baby wipes
Latex free gloves or hand barrier cream
Sanded Pastel    Paper mounted to foam core, museum board or gatorboard  I like using Uart's 320 grit paper in a light beige tone.
Glassine   Tape to the backside of the mounted pastel paper as a protective cover for the painting.
Panel carrier  I two pieces of cardboard taped together like an envelope

Miscellaneous Items

Bug Spray
Sunscreen  I like the spray on kind
Clip on Mini Lights for nocturne painting
Umbrella  I use a BestBrella or the larger Shade Buddy
View Finder
Sketch book and Sharpie Marker
Hazardous Materials Disclaimer Sheets for Gamsol Oil painting products
Folding chair

So that's my list of goodies, and somehow they all have to fit into my backpack. Sometimes I will bring both mediums and that is what I did when I flew out to Door County, WI last year.  It's a painter's challenge in space conservation at best, but I think I've got a good handle on it.  Anyway, like I said, some of the items listed may be left back at home due to what I am willing to do without. After all, it's artist camping at it's best.  

So since I am on the subject of plein air, I have announced a new plein air workshop specifically for pastels.  Pastels en Plein Air will be June 25-28th in the Portland, OR area.  Here are some specifics:  

Fee:  $350
Dates:  June 25-28, 2015
Location:  Greater Portland area
Time:  9:00-5:00 pm

For more details about the workshop, click HERE.




"Bridal Veil Falls" 16x12" Pastel

My family and I took a drive out to Yosemite for a much needed Spring Break. We drove from Portland, OR to Mariposa, CA in about 12 hours, and were so glad to be stable in our new Hideaway by 5 pm. I rented us a place through AirBnB and it was delightful and clean, and it accommodated all we needed for rest from our daily outings.  Once we arrived in Mariposa, we gathered food items from the market for snacks and quick morning b-fasts for early starts out to the park. Yosemite was about a 35 minute drive from our Hideaway, and was scenic with bolders getting larger as we approached the Park. Our first day-trek out to Yosemite, we took a longer route that rides circuitously through Oakhurst and wound through the hills and entered up to the Tunnel View. I waisted no time to set up and paint.

This photo does no justice to the depth and breath of this view. It is a must see in real life!

While I thought my family would take this time to hike the trail above the viewing area while I painted, they instead decided to watch people watching me. I thought they were nuts as it's just tourism at it's best, with nearly every language spoken at the rim. I heard what I believed was Japanese, Romanian, and Swedish, but what the best part was when a bunch of fun loving Italians sang a wonderful spirited song right next to me while I painted. Oh, I love this job!

The Valley Below  12x16" Pastel

View of Yosemite Falls, midmorning, upon completing the piece.

Yosemite Falls  12x12" Pastel

Painting at Mirror Lake

Many people are curious and stop to ask about my painting. Some take photos of me, and when they do, I ask if they would please share them with me. It's not always possible to get a good shot of me doing what I love, but this one rocks! The photographer is Carlyn K and we connected through our imagery. You can see her beautiful work HERE.

Mirror Lake  11x14" Pastel


A First Friday showing...

For all you Portland area art lovers and friends of the arts, I wish to share with you an event on this First Friday of March. It will be a warmer than usual kind of night, no doubt, to be out so I'm inviting you to come out to enjoy an intimate showing of work at Gideon St. Studios for the evening.

Here are the details:

Friday March 6th, 2015
5:00-8:30 pm

Gideon Street Studios
1212 SE Gideon Street
Portland, OR
Mapquest:  http://mapq.st/1BFWv5P

Hope to see you there!


Mark-making &More Glass Jars, 9x8

"Glass Jars, 9x8" Pastel on sanded paper

Don't you just love texture in paintings? It makes a 2 dimensional image move forward with depth that you just couldn't get with a drawing. Oil painters have the advantage of impasto application, but what about pastelists? Since it's a soft pigment it just can't make a thick and juicy mark! But pastels offer a wonderfully expressive mark-making quality that oil painters just can't match. Mark-making can produce incredible results so unique that each artist's style begins to shine through.  I was first attracted to pastels because of the mark-making I saw in other accomplished artists such as Sally Strand and Sandra Bushell.

Last week in my pastel class, we worked on mark-making again (glass ball jars seem to work for this exercise) and in my demo (above) I used this linear technique. This vertical mark-making is actually quite exciting to look at!

detail shows the many layers of vertical marks made to create shape.

Depth and shade were rendered with a thick and thin mark with ink using both crosshatching and swirly marks. 
Reminiscent of the unique designs of our fingerprints.

Perhaps my interest with mark-making began when I was a kid.  Back then, I was fascinated with the dollar bill and how it was illustrated. Hours would be spent looking through a magnifying glass at George Washington, while trying to figure out how to make a drawing with lines just like those on the bill. Little did I know I'd be doing something similar in pastel as an adult.

The variety of mark-making is endless and is up to you and your imagination. So next time you hit a big slump with your work and are feeling like your work is getting boring, try making some marks. Try using thick and thin pressure with your pastels to garner wide or thin marks. Use color variations that can be optically mixed, or even different shapes like swirls, dots, or swipes of color to render beautiful work.


Swift Crossing, 20x16"

"Swift Crossing" with detail, 20x16" Pastel

Back when I went on my adventure to New York City last September, I walked what felt like 20 miles on the streets with my camera at the ready. There was activity and color that would last me a lifetime of painting inspiration, but the deciding factor must offer a decent composition. Here, "Swift Crossing" has that typical "U" shaped composition so characteristic of any street scene lined with buildings. I like to think some compositions are much like the alphabet, offering up the "S" curve, "L", "V" or "T" to name a few. It was the people crossing the street in what reminded me of the "Beatles" album cover "Abbey Road" that attracted me the most of this scene. I worked with the color a lot, having first used filters on Instagram to see where I could push the colors and mood. I ended up with a more intense and darker look than the original image, I think it works. Thoughts?