One-of-a-Kind

My plein air palette (cleaned and reassembled)

In my last post about my studio palette, Cindy and Kimberly's comments have spurred me to share a little bit about my plein air pochade box. I purchased my Open Box M about 3-4 years ago and have never regretted it. It offers a space on the back where I can store my finished pieces, a removable backboard I can attach my paper to, a large bed to place my pastels in, and a side tray. The biggest selling point was that it came with a wine glass holder! Imagine sipping wine after a wonderful plein air workout. Yeah, you know what I'm talking about here...but I digress.

I have made a few unique modifications that were not originally part of the box. These 'extras' were added to aid in quick set-up as well as wanting a mix of other features that are offered on many other well-known manufactured pochade boxes. So here goes:

Footsies, or better known as bumpers, attached to all four sides

First, I had to have my box be versatile both inside the studio and out. On the underside of the box is a thick piece of wood that supports the tripod adaptor which stretches the width of the box. Because of this necessary piece of support, it was unable to lay flat on my drafting board while in the studio. So I added some 'feet' on all four corners of the underside to clear the wooden brace, and now it can sit on my table flat without wiggling and tilting here and there. I bought these little feet at Judson's Art Outfitters in the "DIY" section here. Oooh nice! But wait, there's more!

Sturdy 'D' rings to attach a carrying strap

Let me back-up a bit here. Originally, I was gifted a Guerilla Box and loved a lot of the features, but it just didn't offer enough room for my favorite pastels. The Open Box M has plenty of room and comes with a small briefcase-like handle to carry it to the field. But hey, what if you need extra arms to carry those additional supplies that must make the trek to your favorite view? So, I added a few heavy duty D-rings on the sides of the box (like that of the Guerilla Painter box) and attached a leather strap that I bought online. Yes, now my arms are free to carry my wine bottle....oh, I mean lunch!

This hinge is from Guerilla Box that makes for quick opening and closing.

Next, there was the quick open/close issue. The Open Box came with two hinges on both sides on the lid that had little wing nuts that I found to be rather fussy. The Guerilla Box had a very sturdy aluminum hinge device made for quick opening and angle adjustments of the backboard and I liked it a lot. I found this very device in Judsons' Art Outfitters catalogue in their "DIY" section. This little "L" Bracket is sized for 6x8" boxes and can be mounted on either the left or right side of the box. It is strong and lightweight and is super fast to open and adjust to the right angle. Since I don't do hardware that well I had a woodworker attach it for me. I was thrilled for this small but important adaptation because I didn't have to mess with tiny little wing nuts when now all I have to do now is twist one knob and 'voila', it's done!

memory foam to protect my babies

Finally, the foam....

The Open Box M came with foam, however, it was not memory foam. If you have ever touched memory foam, you know what I mean. Have you ever sat on a Tempur-pedic bed? Well, imagine a bed for your pastels that protects and holds them tight in place. No more smashed pastels! The trick was finding memory foam that is sliced to 1/3 inch thick to fit the bed and top. I ordered such foam from Knox Foam, but the funny thing is that after I placed my order, they callled me back to inform me that they don't have the ability to slice it that thin. Then after about a month a funny looking package arrived on my doorstep. Memory foam cut to size! Now I really owe them a huge thanks for doing that, because it was going to be interesting slicing memory foam to 1/3 inch thick with an electric knife and guide blocks. The foam was sliced and glued with a spray mount onto a piece of illustration board cut to fit the interior lid of the box. This is what covers the pastels and holds them in place when the lid is closed.

These adaptations are a bit over the top but, they were just what I wanted in a box. It was worth the extra effort of searching for the parts and building it, and so now it is definitely one of a kind. What type of plein air box do you use?

The Strada for Pastel Plein Air

As a traveling plein air pastelist, I have found one thing to be true. Carry less so you can have more. More freedom, more practical thought, more ability to move about, and more joy. You see, pastels are like a piano. You need each key to make a beautiful harmonic composition. With oils, you can travel with as few as four colors to make a painting. Not with pastels, oh no. I would jokingly compare it to carrying an upright piano on your shoulder. I think I carry about 250 pastels in my plein air box and the weight adds up. Some pastelists carry more. My plein air box weighs 14 pounds when fully loaded and so I lovingly call it my "Box of Rocks". So it is no wonder why I am always on the lookout for ways to make my set-up less heavy and complicated.

If one were to calculate all the miles I must have hiked with my current pastel box, it would probably be a combination of 40 miles. If you were to count the time I had to run down the halls of the Portland International Airport with my pastel box back to the North 40 after I discovered I left my precious box behind at the TSA, well then that's another 2 miles. Honestly, I tell you, my pastel box is heavy and cumbersome as with all of them out on the market today. They are just heavy and no getting around that. But what if you could fit it into a backpack and free up your arms, then would that be better? Well yes it would. 

You see, I currently use an Open Box M that I have modified to allow the best set up situation and ease of use, but honestly, I have been using it less and less in long distance events because of it's size and weight.  Also what adds to the total bearing weight is the tripod I have to tote around for which it sets upon. A tripod must be lightweight as well as able to carry a payload of 10 lbs over the box's weight. So say your box weighs 11 lbs., then your tripod should be able to withstand 21 lbs. Why the extra payload requirement? Ballast. You need ballast to hold your box down on the tripod so it won't blow over in case of a hefty gust and to avoid a top-heavy set up. No pastel artist wants to pick up a pile of broken pigment chips on the ground in the middle of a beautiful painting experience. 

Well, that wish may come true. I am partnering up with artist, owner, and developer Bryan Mark Taylor of Strada Easel to modify his sweet little pochade box into a pastel box.  The Strada box is sleek offering a tension closure that acts as a panel holder. That means there are no nobs or wing nuts to catch onto anything and making it easy to put into a backpack.  It is sturdy. The Strada is made of powder coated aluminum that makes it nearly bomb proof.  It's compact, making it smaller than the average pastel box. It has additional "wings" that can be added to the sides of the box for extra pastels and can be folded upon themselves to easily pack away.

So in order to make the Strada "pastel friendly" I made a few simple modifications that I will share with you here:

A good pastel box needs to be lined with foam to keep the pastels from rolling around and getting crushed. So I searched for Memory Foam online and found Foam Source, a manufacturer who will customize memory foam to fit exactly the parameters set.  I measured my Strada Box's interior dimensions of depth, width and height for both the bed and the lid and a little extra for the walls of the box, as well as the side wings. 

For the 11x14 Strada Box, I ordered:

(1) Soft Memory Foam 16.5 x 12 x .5" (for the bed of the box)

(1) Soft Memory Foam 15.5 x 12 x .5" (for the lid)

(1) Soft Memory Foam 15.5 x 11 x .5" (extra just in case)

I tacked on an extra inch to measurements of the bed to tape to the walls of the box.

Because the foam is a bit "stretchy" you will need to press firmly down to

trim the memory foam so it doesn't drag and allows a clean, uniform cut.

checking the fit before setting it with adhesive

There is a peg in each corner of the box where they poke through. I am not sure what the purpose is for the pegs, but I suppose they are important for it's oil painting purposes. I will have to remove the pegs so there won't be a hard bump for a pastel to break on.

I had my handy Dad machine them off in a snap. Thanks Dad!

Next, I measured the exact bed dimension and cut some double-sided

adhesive for the foam to stick to. You can see there is a small peg remaining in the upper center area of the bed. That peg is a "must" for the tripod head to attach. When I set in the pastels, I will have to "remember" to avoid resting them on that peg.

Peel the paper off of the double sided adhesive.

Also affix the double-sided tape to the inner sides and

place the foam and press into place.

Here is the bed lined with the memory foam. All while I am building this interior bed, I am always checking the fit, measuring, and testing any challenges. When I checked the closure or the lid, I noticed that the bottom panel bracket would have to be removed when closed as it would crush the pastels and the pastel cover.

So I needed a nifty little spot to put the bracket and decided to cut a bit into the bed

And protect the pastels from the panel bracket by tucking it behind the inner liner.

Nearly done, but just a few more special things to do...

Next, I had to make a padded cover to protect the pastels from the lid.

I measured and cut a piece of heavy duty illustration board to act as a base for the inner lid.
Again, I applied double sided adhesive to the inner lid
and then cut and attached the memory foam to fit.  

I modified the lower left of the inner lid to fit snuggly around the panel bracket.

Then the side trays were also adapted with memory foam.

The larger of the two side trays doubles as a lid and a working space.

The small side trays close up like a small box and then strapped closed with 3 super-duper rubber bands. Use (2) 6" and (1) 9"super-duper rubber bands from PanelPak.

Then I scored the middle of the foam so I could place a thin piece of foam core down the middle lengthwise to give support and structure to the loose pastels.

A perfectly pretty box in every way.

It closes up snuggly. 

Fully assembled with side trays and clip in place on the easel. Now all I need is to find that special tripod and I'm set for easy travel.  This entire set up weighs in at 11.2 lbs.

Things I learned:

Measure twice, cut once.

Always order a bit more than you need. In case you make a mistake, then you won't be delayed in another shipment.

Order a foam thickness of 3/8", not .5" so the box will close a little better. 

Constantly check for obstacles. There are always a few surprises when modifying a box.

Think of creative ways to solve a problem.

Strada weighs 11.2 lbs / Open Box M weighs 14 lbs. I lost 2.8 lbs! 

*  (Open Box M no longer makes a box for pastels)

To make this box complete and ready for the field, I will need a tripod that fits these specs:

Folded length:  16.5"

Weight:  2.5-3 lbs or less

Payload:  21 lbs

Clamp legs/ twist are second best in my opinion.

Carbon Fiber

Quick release ball head

Reasonably priced $200-$400.

Wishing my dreams will come true.

So there you have it, a modified Strada for pastels. What do you think?  I would love to hear your thoughts on this by sharing you comments in the comment box below.

~ Brenda

Modifying an Open Box M for Simplicity

I don't know about you, but when I go out to paint on location I am all about putting paint down as soon as possible. When a scene calls out to be painted, setting up your gear needs to be quick and streamline. When equipment has more that 4 steps to setting up, it gets nerve-racking. This could include setting up the tripod and attaching the box to a tripod, squeezing out the pigment, and setting out the brushes and turp, The sun is your clock in plein air, and so a simple and speedy set-up is important. 

Many plein air boxes on the market are clam-shell design, and in my opinion are the most efficient type of pochade box available. The clam shell box I like most is the bomb proof Open Box M. I love it's simple design, but over the years have despised it's fussy hinge system that seems to get caught up in my backpack, and it takes 6 wingnut twists to adjust into position. If I could eliminate 6 twists down to a one-knobbed twist, then I could eliminate a bit of fussiness and frustration as well as a quicker set up. It may seem nerdy to have to go through the trouble of changing out the hinge system, but I am all about simplification here.  

Here is what I did to ease the set up of my already well used box:

The Open Box M with the hinge system. Each side has 3 wing nuts to adjust.  As you can see, the wing nuts stick out on the sides of the box and they often get caught up onto other equipment.

All the fussy hardware was impractical, so I removed the hardware and replaced with the two piece system that I picked up from Judson's. 

Guerrilla Painter Replacement Lid Bracket for 102 Series Boxes can be found in the Do It Yourself section HERE. Measures 3 1/2" long, 7/8" wide, 1/4" thick.

Your local hardware store can help if you don't have the tools or the know-how with woodworking and set-up. Most times I have found that the guys in the hardware store love problem solving and this one proved to have a few challenging sessions. One of the challenges was to allow room for the black knob to clear the glass on the inside of the wood wall.  In order to do that, we had to completely replace the old glass mixing surface and install a new piece with a cut-out clearance area for the knob. Use a dremmel tool to cut a notch out for the knob. Finally, we attached the hinge system and now it opens and closes with just one twist.

Have you ever adapted or streamlined your equipment to aid in your production? If so, please share.

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

Holbein Brush washer

Gloves  I use latex free gloves

Baby wipes

Panels

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

Snacks

Water

Camera

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.

~Brenda

My pastel palette + a challenging week

My studio palette

This past week I spent some time getting one of my pastel pochade boxes cleaned, modified, and organized for the upcoming plein air season. I have two pochade boxes; one is for the studio (this decent little box shown here, but not apt for outdoors) and the other is my die hard Open Box M. A while back I picked up Richard McKinley's book 'Pastel Pointers' and in it he had a photo and explanation of how he lays out his plein air box. So I thought I'd rearrange my pastels, one by one, and put them back just as he recommends. It's sort of a meditation of sorts, quietly placing and rearranging them like a mosaic. Originally, my box was arranged from l-r: reds, yellows, warm greens, cool greens, blues, purples. I shifted the pattern in my box as Richard illustrated and also added an area on the far right for neutrals. While my pastels were all out of the box, I decided to clean the pastels and washed the memory foam that lines my box. I also put a sturdier clip to secure my box from opening while carrying...if I ever take this one out of the studio. All it needs now is a tripod adaptor.

This week also was a trying one for me health wise.

I had 4 doctor appointments and no time for exercise (which I love doing, really) and a full day of driving art round trip to Tacoma and back that left me with no time to paint. My doc diagnosed me with Celiacs Disease after having a 'fun' endoscopy (that's when they put a camera down into your small intestines). This means I have to become clean of any gluten products, an element found in wheat, rye and barley. Did you know that wheat, rye and barley is in nearly almost all processed foods, the backbone of the American diet? It's even in some chocolates! No more tabouli, soups made with boullion, beer, fish and chips, as well as food that gets traces of gluten from sharing the same cooking utensils, etc. I am about to become a picky eater... Augh! The good news is that I have never craved breads and pastas, and I can still enjoy wine....whew! After taking in this news, I went into the grieving process of denial (I have no symptoms, how could I even have this celiacs thing?), anger (why me?), sadness (yes, I wept on the proceedure table) and then onto acceptance (a good attitude helps with this last one). After researching and reading more, I am finding that it won't be too bad and am actually looking forward to the many benefits of being gluten-free. I'm hoping to have more energy (imagine that), sharper memory, no achy arms while I sleep and a slew of other benefits ... to be ready to rock when the sun comes out and celebrate that at least I am alive and blessed to paint and create! I raise my glass to celebrate another great plein air season!

Rolling your own pastels & more...

What do you do with all that pastel dust that collects at the bottom of your easel? How do you roll such unique colors? Where did you get the stuff to do this? When I open my studio in October, these are the most commonly asked questions I get when I'm at the easel demonstrating. So I thought I'd get a head start and educate a few of you on the science of pastels...well, maybe not science. But at least it's interesting stuff if you really LOVE pastels like I do! Anyway, here goes...

You will need the following:
Spray bottle with distilled water.
Paper towels, already separated cuz you'll go through them quickly.
Newspaper to cover your workspace.
Drop cloth
Apron
Butter knives with no serrated edges. Smooth ones don't hide pigment in the grooves.
A box of disposable latex gloves.
A jar of Wallis pigment, your choice. (I'm using Quinacridone Magenta and Ultramarine Blue)
A jar of Wallis white pigment.
Ziplock bags, sandwich size.

First, gathert the pastel dust by using a piece of paper or a small spoon to carefully scoop up the dusty pigment. Collect as much as you can get into a zip-top sandwich bag and zip tight with as little air inside. Try not to let the dust escape, cuz it goes everywhere, including your lungs!



Now the best and safest thing I do here is make a workspace outside. I do this because the pigment could ruin your new carpet, or your cat might want to walk over your project and make things worse.
Lay layers of the newspaper down so to protect your workspace. I also have my paper towels pre-separated from the roll and lay them in a pile next to me. I can access them quickly when I to pick up something with my messy gloved hands, like the spray bottle for example.
Take the baggie and mash with your hands the contents so there are no clumps and chunks of pastel. This makes an interesting gray color, but can make some beautiful shades of landscape colors too.

Now that the dust has settled, ha ha, humor at work...anyway, let the dust settle in the baggie and slowly add a few sprays of the water from your spray bottle (keep the baggie closed so the dust doesn't get sprayed out). Since the pigment already has binder in it from it's original state, you will not have to add any more. Close the baggie and mush it up till it is a consistency of playdough. You may have to add some more water. If you add too much water and the pigment becomes runny, it can be dried out by keeping the baggie open for awhile.

Scoop out some of the gray pigment.



I'm wishing to create a grayed purple that would work best for those distant hills in my landscape paintings. You can use any pure pigment to gray down, or just the grey alone. In the photo above, I have a bit of the grey that I just processed on the right, and a few clumps of Quinacridone Magenta and Ultramarine Blue pure pigment from my Wallis Pure Pigments on the left.

Now, get your latex gloves on cuz this is where it gets messy!

Roll in your gloved hands the pure pigment. Roll it and bend it back into a ball, then roll again. Roll until all the color is consistent. This ensures a good mixture of the pigment. Then you can begin to add a series of white pigment to the mix. Break off a batch for every value step.


Here is the roll of grayed purple mixture with a batch of white on the right.


Add white to the grayed mixture and begin to roll, roll, roll. If the rolling seems dry and crackly, add a drop or two of the distilled water to the mixture. If the pigment seems too wet, press it against a paper towel, to absorb the extra moisture.


Here is a stick of rolled pastel. Cut into half the size and set one piece aside to dry. Then take the other half and add a bit more white to it. Roll and repeat, adding white each time until you are happy with the value selection.


Here is a series of two colors with a value shift of at least four of this particular grayed purple.
Let them sit out in a safe spot to dry over the course of about 5 days. Note: I have used a straight edged knife to square off the sticks. You can make them any shape you wish.

Now wasn't that easy?
If you have any questions on this process, just ask me. I've done this enough to know the pitfalls and successes. Happy rolling!

interview with Pratique des Arts

The Fall Line   24x24" Pastel

A few months ago, I was approached by author Stephanie Portal of a French publication Pratique des Arts.  She had attended the International Association of Pastel Societies last June and saw my work and was curious if I would share some information about my pastel work for her audience.  I am thrilled to be a conduit for the European's to see inside It helps me to find words for my work, and I am hoping your readers will gain a better understanding of my work. Please be aware that I am answering your questions predominantly for studio work, but I do provide some of my plein air techniques in the city…a very challenging, yet exciting place to paint.

What do you like about painting cityscapes? What sparked your interest in this theme?
My first spark of inspiration was lit when I saw a painting created by American artist Ken Auster on the cover of an art magazine. It excited me to see everyday scenes uncommonly celebrated as a subject worth painting. Why not... I asked myself, could I take a closer look at my own city? Could I see the beauty in such an unconventional place? Could I recreate a sense of everyday life with bustling modes of transportation and people making their way through town interesting? My most favorite city scenes are accessorized with signage and lights.  I often describe the illuminated lights as a candy Lollipop!

What are your favorites places to paint and why?
My favorite city to paint is Portland, OR, where I currently live. It has beautiful contrasts with cool and warm colors and a rail system, taxis, and many pedestrians. But wherever I am traveling, I am always on the lookout for the new subject matter. Having said that, I really like painting from a pedestrian point of view. As I walk along the streets of my own city, I look for the energy and movement of cars and pedestrians that will never present themselves in that moment and arrangement again.

Why is pastel the medium of choice for this theme? Do you sometimes use another medium (oil?) and how do they compare?
I choose pastel for my city scenes because I love the layering of color and how it allows me to emote solid shapes with color strokes. There is a beautiful thing happening when there are strong heavy marks and light feathery marks that adds excitement to my cityscapes. I do use oils for cityscapes, but it is not my preferred medium. It takes time to mix oil color, but with pastels, there is a spontaneity that matches the energy of the city.

What challenges do you encounter when painting streets from life (compared to quiet country views)?
(atmosphere, busyness, noises, choice of spots)
Do you work or finish your paintings in-studio and why?
Painting en plein air poses many challenges in the city. I have reported that the scene is more challenging to select due to its’ location, pedestrian traffic, and safety than painting it.  The noise of the city does not bother me, but sometimes there might be an occasional observer. This can create many pleasant and unpleasant situations. Having said that, I prefer to paint my larger urbanscapes in the studio because I can take my time reacting to my feelings than my speed.

Evening Errands 24x24" Pastel

What do you look for in a cityscape? What makes an interesting scene?
I look for composition and energy first.  For me, an interesting scene must have transit, lights, and then signage.  People are wonderful extras, but not always necessary.

What makes a good composition? What elements do you keep/erase? 
In the city, I often find good composition when viewed from crossing the middle of a street surrounded by tall buildings.  This provides a "U" composition, however, I love creating a fulcrum that is predominantly dark with a small area of light.  This can be found deep within an area of buildings with a small area of sky lighting the scene.

I don't like the sight of trashcans, so I choose to eliminate them. I am careful to choose elements that support the feeling of energy. It could be a specific rail or shuttle, or perhaps people rushing off to work.

How important is the light? What are the best times (of the day, of the year) to paint the city?
I love painting any scene in the early or later hours of the day because it provides a light that has more drama and provides an interesting mood, dramatic shadows, and tonal qualities to an otherwise gray scene. The fall season is also a favorite time of year to paint because it has more color and weather variations.

How do you decide color harmony? Do you pay attention to complementary and analogous colors? Do you have favorite color combinations?  
I love using a complementary or split complementary palette. I am open to what colors are most dominant in a scene and then play with that. However, I love painting orange or blue scenes the most.

You also like night scenes. Why and how do you work on them ? Are they specific difficulties with them?
I love creating night scenes because they offer mood without much detail. Also, there is less to see in the dark, and the street lights are what excite me the most. Like I shared before, "they" are the lollipops!

Evening Errands  24x24" Pastel

But when it comes to painting nocturnes en plein air, that offers many challenges. Losing your equipment is easy when there is a limited light source. Also, colors are nearly lost, so I use a clip-on lamp attached to my palette so that I can see the colors. Upon returning to a day-lit location the finished paintings are often more intense than intended. Oftentimes the pieces could be either exciting or disappointing, depending on how you look at it.  As for safety, I recommend painting with a partner so that there are two sets of senses to hear and see potentially dangerous predicaments.

How do you proceed? (sketch, blocking in, layers, highlights)
How important is the drawing?
First, I begin to select a color theme and work up my sketch onto my sanded paper with a pastel pencil.  I adjust the composition and drawing by taking a photo of it and then reducing it on my smartphone screen to clearly see the basic elements of the composition. 

What about the underpainting?
Once I have made drawing corrections, I begin on an underpainting of either a thin acrylic wash or thin veils of oil. I often switch it up a bit with laying in pastel and then wet it down with turpentine. This is the fun part because often the painting will create an entirely new direction.  I love the adventure of all the directions a piece will take in the process.

Do you use different textures of pastels and if yes, how do you make use of them
I love using softer pastels than harder ones, and I prefer using my own selection of colors produced by Jack Richeson because they are consistent in texture.  I will use a harder pastel to lay in my sketch and use the softer pastels for the build-up of layers and mark-making.

How do you capture the atmosphere, the energy of the city? (color harmony, mark making)
The atmosphere is created by thin layers of color, much like the fog is to the sky. Mark making is the most effective way to create energy in a cityscape. It is felt upon application, and it is felt when looking at it.

What did you learn from painting this theme? What do you aim to achieve in the future?
I learned that I need to crop in the scene more often and look for the basic shapes rather than observing every overwhelming detail. This has made my growth and enjoyment so enriching.

Do you have 5/10 advice/tips/golden rules to paint cityscapes or to paint in the street?

Expect the unexpected
Always choose safety first
Find the vanishing point and layout the horizon.
Paint what will most likely move first. Cars, trucks, food cart, the light source.
Keep it simple
Be aware of your tripod legs impeding foot traffic
Be aware of your time
Take small breaks to rest your legs and look around your surroundings as they are constantly changing.
Don’t engage with unstable people
Be flexible. You may have to move while in the middle of creating your masterpiece.

What material do you use (you can mention brands): paper, pastels, accessories, fixative?
What is your outdoor material?
I use Uart 280 grit paper
Jack Richeson Brenda Boylan Plein Air and Starter Kits, Terry Ludwig pastels, Sennellier pastels
a small t-square to get angles straight
Gamsol or denatured alcohol for my wash
Foam brush to wipe away build-up or to make corrections
masking tape to mount work to the palette and also to create a dust bin below my paper.
Soft cotton rag for wiping my hands
Portable moist wipes for cleaning my hands
Non-latex gloves to protect my hands
Tripod with a ball adaptor, and a pastel box that is custom made by Open Box M.
I do not use fixative.  I finish my paintings by covering with a sheet of glassine atop my finished painting. I then buff the glassine into the pastel surface by pressing with the palm of my hand and smoothing out the entire surface. This helps knit the pastel into the tooth of the Uart paper

Estuary at Dusk, 24x24

"Estuary at Dusk" 24x24" Pastel on sanded paper

I've been hesitant to post this one painting for some time now. It's been sitting in my studio since my Open Studio back in October. This is a different direction from my usual waterscapes, adding a sunset and trees. And the clouds...boy are clouds difficult to paint! During Open Studio I had it near completion and on display with a "title" suggestion box so that my visitors could help with a title. Well, here it is, and I'm still not so sure on it being finished but I'm just going to jump in and post it anyway! However, I am sure of the title that was selected from an entry by K.C. Rumble. There were some very good suggestions, but this one seems to fit. As promised, the visitor [K.C. Rumble] who submitted the winning title will receive a fine 12x12" Giclee' reproduction of this piece. So, thanks K.C. for such a great title!