Leisure Painter Magazine

Posted on Jul 4, 2001

LEISURE PAINTER MAGAZINE ARTICLES

FEBRUARY 1999; Front cover, “Fireside Arrangement”, pastel (Detail).

AUGUST 1999; Page 26. John Patchett’s Pastels Part 1; “Street and Market Scenes”.

SEPTEMBER 1999; Page 26. John Patchett’s Pastels Part 2; “The Call of the Sea”.

OCTOBER 1999; Page 16. John Patchett’s Pastels Part 3; “Still Life in the Garden”.

MAY 2000; Page 36. Painting Outdoors with John Patchett “Working with Pastel”.

JUNE 2000; Page 18. “EXPLORE-Light and Shade”. John Patchett creates dimension in pastel.

AUGUST 2000; Page 14. Lets Start with Art – 8 “A Wisteria Clad Doorway in Pastels by John Patchett”.

AUGUST 2001; Page 31. Painting Project – Phase 1, “A Disused Farmyard in Pastel”.

SEPTEMBER 2001; Page 22. Painting Project – Phase 2, “A Disused Farmyard in Pastel”.

MARCH 2002; Page 21. “Windows and Doorways in Pastel”.

MAY 2002; Skies in Pastel

July 2002; Page 14. ‘Paint a boat and fishermen’s huts in pastel’

August 2002; Page 15. Lets Advance with Art – use pastels to paint boats and fishermans huts

PLUS

‘Pastel International’ magazine no.11

Step by Step – Art Course’ magazine no.78 (Dec 2001)

Garden Still Life ( Furniture ) with Flowers

Posted on Oct 4, 1999

” Garden Still Life ( Furniture ) with Flowers ” by JOHN PATCHETT

Leisure Painter Magazine
Issue – October 1999, Deadline – 7th. June 1999.
( Part Three of a series of three x ‘3 page’ articles.)

In explanation of his choice of subject matter the Australian painter Tom Roberts wrote in 1894, “one of the best words spoken to an artist is, ‘paint what you love and love what you paint’, and on that I have worked “.

One of my great loves, when choosing a subject matter close to my heart, is that of garden environments. I have to admit to being relatively unaware as to what degree I included ‘still life’ (
furniture ) in my paintings of gardens until I was asked to write an article about it.

Furniture in a garden setting, provides a number of key elements to the composition. Besides ‘shape’ and ‘form’, these man-made features are a perfect foil to the natural forms of the different varieties of flora and become a contrasting focal point.

In Chinese philosopy, ‘Yin’-the soft, passive female forms, live in natural harmony with ‘Yang’-the hard, active male forms. I do like juggling the balance of these two extreme elements by introducing man-made ( Yang ) funiture, then compensating by adding soft shadows, water reflections, delicate textures in order to unify and balance the whole picture surface.

When I talk about garden furniture, I am largely refering to chairs, tables, ornaments, tubs and pots. The recent growth in popularity of gardening books, television programmes, garden centres and horticultural shows has made us all much more aware of the huge array of purchases available that can contribute to and enhance even the smallest patio, or container garden.

Basic considerations.

When setting up, I like to take in as much as possible, all the wonderful elements that make up the garden setting before me. I will consider just where I am going to stand and how much of the scene I am going to include, but before I make any more decisions, I need to look at the garden with fresh eyes, without rushing to any conclusion too early.

Like standing before royalty, ‘let the garden speak before you do’.

Of course any pots, chairs, tables, benches or ornaments can be added, moved, turned or removed altogether, to help create the desired composition. By placing ‘still life’ objects in feeling that these man-made objects tell a story about who owns, or uses the garden.

My approach to work.

I have a ‘plein air’ approach to painting and usually complete a piece of work in one day. My paintings are the direct response to light, composition, contrast and colour. Being a pastelist, this direct approach suits both my temperament and the versatility and immediacy of the pastels medium.

Gardens do present a difficult challenge to the inexperienced as it is easy to become overwhelmed by all the individual flowers, shrubs, trees, paths, fences, garden furniture and features. It is important that all these elements are not fighting against each other, but supporting each other. It is very easy to get seduced into focusing on particular parts of the painting, so to be able to see it as a whole is vital if you are to preserve your sanity! Certainly in the initial stages, it is important to work on all areas of your painting at the same time. This way you can easily give some things greater importance, where they are needed in the context of the overall composition.

Paintings generally get tighter as they progress, so you must allow for this by applying the pastel using loose, sketchy strokes in the early stages.

You should also try and keep the work as abstract as possible, for as long as possible. Gardens lend themselves to be painted as an abstract piece of work, where you can consider the elements of shape, texture, composition and design above all else.

Almost immediately, I block in the darkest areas to establish the tonal pattern of the composition. Consequently, a feeling of form and structure starts to emerge, creating an underpainting on which the rest of the painting can hang.

Any garden ‘furniture’ should look as if it co-exists with the rest of the painting , so it is essential to treat it in the same way as the rest of the painting It is dangerously tempting to spend longer getting the perspective of a bench, or the angles of a chair exactly right and as a result find that they look as if they have been painted by a different person when compared to its surrounding counterparts.

Still working on all areas of the painting together, I build up delicate layers of pastel, making sure that my pastel strokes follow the direction of the form that is being painted.

When blending colours, mixing should be done with the pastel sticks themselves rather than using your finger. This allows the ‘blend’ to remain fresh and alive. To control the density of your hues, the pressure of the second layer needs to be very controlled. Gentle pressure will cause the original layer to be slightly influenced (mixed) with subsequent layers. A firmer application will result in the mixture being more evenly proportioned, but a heavy handed pressure of the second layer will obliterate the layer underneath. To the uninitiated viewer, applying pastels will certainly look deceptively easy!

Shadows tell us from where the light is coming, as well as indicating any changes in the ground surface and describing the form of bushes, shrubs, pots and funiture. Small accents, details and highlights tend to be put in towards the final stages of the painting.

For me, gardens are at their most inspirational when the sun is shining and local colour is replaced by reflective colour and natural light.

This was the case in ” Sunlit Garden, Cathedral Close, Norwich “, where the slightly lemon sunlight was particularly strong causing the shadows to take on a mauve tint. The two antique pedestals, both being in the foreground were put in quite boldly with strong highlights ,which emphasised their form, allowing them to contrast against the garden behind. The diagonal pathway takes the eye back towards the far building, which is treated with a soft edged raw umber and grey mauve scumble to create an atmospheric feeling of distance (aerial perspective).

Counterchange was one of the problems that I had to resolve in ” Chardonnay Time “. Careful positioning of the white table and two directors chairs allowed me to place the light and dark tones against each other. This small Australian courtyard was alive with textures and patterns but the painting overall would have been quite dark had it not been for the focal point of the sparkling glass and bottle on the white table top.

Similarly, in ” Shady Retreat “, the white cast iron garden furniture was arranged in such a way that the back of the left hand chair stood out against the dark background and the back of the other chair appeared like a dark silhouette against the luminous pool. The patterns and textures made by the furniture, the shadows, the backdrop of foliage and the surface of the swimming pool all helped to unify the painting. Because the oval shape of the chair seats was echoed in the table, straw hat and the shape of the pool, quite a unique composition resulted. I can remember that the intensity of the Australian light was almost blinding, but it did allow me to emphasise the chiaroscuro in the finished painting.

I do like to find a composition that takes the eye into and through the painting. In “Spring Garden “, the steps, the paved middle distance and the distant gap by the side of the dark shed, give the painting a strong focal point. Here the Yin and Yang sit side by side throughout the picture surface and the strong play of light creates extra dimensions to the steps, the old chimney pot and the plants in the foreground.

As one would do when arranging a ‘still life’, it is possible to do just that on a large scale outdoors in the garden. In ” Garden Retreat “, I did spend a great deal of time moving pots of flowers and positioning and repositioning the wooden bench ( not to mention the ceramic squirrel!) in order to create my own composition. I had to soften and lighten the distant garden and make it appear out of focus to stop the painting becoming too fussy. The dark areas, which I established quite early in the painting, eventually became even darker, to create a cocooned pocket in the garden where one could sit at peace by the small pond.

“Patio Garden”, is a painting of my own small garden and the intensity and richness of colour of the blooms were achieved by using broken colour, which allows one colour to show through another and by choosing dark brown pastel card for my support.

Like watching a slow-moving sundial, I waited for the exact moment before putting in the elaborate shadows on the flagstones in the bottom right-hand corner . As I wanted the garden furniture to look part of the overall composition, I had to make sure that the painterly technique which was used for most of the painting, was used when working on the
table and chair, otherwise it would have appeared far too dominant.

After all that I have said about painting what you love and loving what you paint, it should also be about how you paint!

John Patchett

studied at Grimsby School of Art, Kingston-upon-Thames College of Art, where he graduated with a B.A. in Fine Art, and Brighton College of Art.
He worked and painted in South Australia for nineteen years before returning to live in East Anglia five years ago. His paintings have been included in numerous mixed exhibitions in this
country and overseas, including The Himeji Exhibition, Japan, The State Bank Exhibition, Christchurch, New Zealand, The Pastel Society, The Royal Society of Marine Artists and the Laing Exhibition at the Mall Galleries, London.

John’s pastel paintings can be viewed at his forthcoming solo exhibition entitled ‘Drawn by the Light’, on 5th.- 20th. November, at ‘The Haste Gallery’, 3, Gt. Coleman Street, Ipswich, IP4 2AD. Telephone ; (01473) 258 429.

Test Report

Posted on Sep 4, 1999

LEISURE PAINTER MAGAZINE ARTICLE – September 1999 edition.

Test Report on the new range of ‘Rembrandt Soft Pastels’ from Talens.

I have been somewhat of a fan of Rembrandt pastels over the years. In fact, the box of 90 pastels I purchased some eight years ago, have travelled in my suitcase to far flung places, even when I’m not supposed to be actually painting, like my Honeymoon!

The box has been an ideal size and range for my portable collection and I have come to appreciate their colour quality and their firm handling characteristics which allow for both rapid drawing applications or for careful intricate layering techniques. But like all fans, along with my support, there has been frustration. Some colours were difficult to use because their consistency was different to that of other colours and the warm reds and the green range were rather limited and quite hard.

Well, Talens, the maufacturer of Rembrandt, has come up with a new and improved version of their range of pastels sure to satisfy the most discerning pastelist.

The first thing you will notice is just what a delight they are to handle. They are slightly softer, with improved covering properties and a smooth, velvety consistency.

Whether you are someone who uses the tip of the pastel for a hard edged linear approach or you use the side of the pastel for delicate overlaying and intermixing, the pigment seems to be released effortlessly.

Those of us who have been irritated by excessive pastel dust or despair at the thought of our favourite, or critical colour crumbling before our eyes, will be relieved to hear that unlike some makes of pastel, this does not present a problem.

I was given a Rembrandt Box of 45 Soft Pastels, (Landscape Selection) to test and the first thing that one notices are the new labels, which are clear, allowing you to identify each colour at a glance, easy to peel away and are much easier to read, with the colour numbers printed along the entire length of each stick making identifcation possible even when it is worn down to a small piece.

On pastel card, the pastels allow you to feel a slight ‘bite’ on the abrasive tooth, yet glide over the surface with apparent ease. When applying the pastels expressively, the marks remained fresh and alive, responding well to the different pressures and nuances.

After breaking off a third of the length and using the side of the sticks of pastel, I was pleasantly surprised how well they reacted to having a number of soft edged layers applied on top of each other . They intermixed effortlessly and by gently applying the last layer, the powdery ‘bloom’, which is the unique feature of all quality pastels, created a rich, luminous sparkle.

When I used the pastels on a range of pastel paper, the results were particularly impressive. Because of their slightly creamy consistency, their high concentration of pigment and their medium firmness, they allowed for a full range of emotional responses.

For me, the new colours, are particlarly exciting, with vibrant reds and rich olive greens making a welcome addition to the range, not to mention a certain ‘permanent yellow green'(633.5) that most artists would die for!

The accepted approach with pastels, is to start ‘lean’ and finish ‘fat’. Talens have addressed this by producing a ‘supersoft white’ (101.5), which is softer than the existing white, for finishing highlights.

As well as being available in a variety of attractive boxed sets, including a small box of 30 half pastels, all of the 203 colours in the new range can be purchased individually. Like a great many pastelists, I use a number of different makes of pastel for various reasons; colour, consistency, particular tints and shades. These versatile, new Rembrandt Soft Pastels are definitely going to be on my shopping list.

The only problem I can forsee, is that due to their sheer quality, both you and I might get well and truly spoilt!

Coastal Scenes and Boats

Posted on Sep 4, 1999

LEISURE PAINTER MAGAZINE ARTICLE -August 1999 edition.

” I must down to the sea again, for the call of the running tide, is a wild call and a clear call that may not be denied “. John Masefield.

Ah yes, if ever there was a subject to get the blood stirring, the heart pounding and the spirits soaring, it would have to be ( for me ) harbours and coastal scenes. The smell of salt in the air, the cry of the gulls and the endless fascination of marine paraphernalia all contribute to capturing the essence of esturine and marine subjects.

They say you have to feel it before you can express it, so spending time taking it all in and soaking it all up, is essential before you can begin to digest what is all around you.

PLANNING AHEAD

When attempting to capture a harbour scene you will usually find that there’s far too much to include, so you need to be selective. Now, the first thing to decide is what do I include and what do I leave out ? Well, to help you answer this question you need to ask yourself a more general and, in a way, a more pertinent question. What is my painting going to be about? Is it the interesting arrangement of positive and negative shapes in the composition? Is it the feeling of squally conditions building up on the far horizon? Is it about the silhouetted boats halloed against the bright morning light or does it capture a moment in time when the gulls have staked their positions awaiting the arrival of the next fishing vessel? Once this has been established you can proceed with a greater sense of purpose.

Planning ahead is so important when faced with the problems of painting on location in a harbour environment. Firstly you need to fully understand that the scene before you will radically change over the ensuing hours. Sea levels change and that boat in the water will be in a different position and at a different height by the time you expect to finish for the day. The sun moves around and lights up the scene from a different angle. Tides run in opposite directions when they ‘turn’, causing all the boats at anchor in the channel, to swing around 180
degrees and if there is quite alot of activity going on around you, as there usually is in a busy harbour, boats that are moored set sail and those on the shore get towed away. In fact, I have tried to paint a boat, under repair and being renovated, which has completely changed colour before my very eyes!

PAPER SELECTION

As a pastelist, I have a range of coloured supports available to me. Choosing a suitable colour and tone will greatly affect the way in which the painting evolves as the background dictates the paintings overall ‘key’.

I chose a dark toned paper which emphasises light colours for “Reflective Mood, “. Because the view looks directly into the morning light, I needed a paper tone to show the contrasting bright light against the dark silhouetted shapes of the boats. Conversely, I selected a mid-grey colour for “Pin Mill Morning”, which is ideal for the subtle tones of the boats and the delicate changes of hue in the sky. It was a wet, breezy day and the sky reflections in the puddles united the whole picture.

In the case of ” High and Dry “, the colour of the support was a mid-toned Golden Ochre. This choice has a number of advantages because the tone allows for the dark and light areas of the painting to have equal importance. The warm colour is ideally suited to the tones of the foreground and with the blue expanse of sky having an underpainting of its complementary colour, an illusion of depth is achieved naturally.

GETTING STARTED

One of my old tutors once told me, ” A painting is only as good as its start”. Bearing that in mind, I generally find I need to establish a good composition with a focal point by doing a small drawing in my sketchbook. Sometimes I make notes alongside to help me stick to my original intention, otherwise I can easily be chasing the changing scene all day (and never catch up!).

I do like to start a piece of work using willow charcoal. It allows me to work quickly and broadly without getting bogged down with detail and doesn’t muddy the subsequent layers of pastel. Working rapidly, with a light touch so as to set up a momentum that will take me well into the painting, I try to establish the dark areas of the painting fairly early.

I invariably use Pastel Board for my support because it has a particularly versatile surface, capable of gentle blends of delicate transparent layers as well as strong opaque areas and more vigorously applied accents. For me its only disadvantage is that it must not, in any circumstances, get wet. So, a careful eye on the weather is essential, because any spots of water landing on the surface of the board results in the shiny white backing card appearing through the surface.

In the pastel painting,” Morning Patrol “, the distant river bank needed a delicate ‘soft edged’ application to suggest the feeling of it receding into the early morning mist with blue grey and raw sienna buildings looming through the hazy light.

The fishing boat, moored at its jetty, was treated with bolder strokes and darker tones, yet keeping the overall feeling slightly softedged by using the side of the sticks of pastel. The old wooden jetty and seagulls in the foreground were drawn in greater detail and I used my darkest autumn brown and purple to create a strong constrast against the muted background.The treatment of the gulls required me to use a bold, hard edged technique using the tip of the pastels,in fact, I had to make some sketches of the gulls as they rarely stay still for long. Gulls stretch themselves tall,then settle and snuggle down into crouched positions, yet remaining ever alert and watchful. Fortunately, if they do happen to fly off whilst you are in the middle of painting them, another inevitably takes its place.

Like most outdoor scenes, the sky sets the mood for the painting. This is particularly so in the painting, ” Afternoon Light “, painted on the banks of the River Orwell. The day was warm and hazy and the light was soft, making the colours slightly muted. Very much the classical ‘lazy afternoon’, if you are not an artist, that is! These two old boats left behind by the outgoing tide, just sat slumped along side each other like two old friends.

I chose a yellow ochre board and delicately covered the surface with gentle, transparent layers of colours to retain the soft feeling of the day. Virtually the whole of the picture surface, even the details , were treated with soft edged marks, using the side of the pastel.

It is interesting to compare the soft English light with that of the more intense Cypriot light in, ” Mediterranean Fishing Boats “. Here the brighter conditions brought both boats into clearer focus and sharper contrast. The stronger sunlight turned the shadows slightly mauve and the white changed to more of a lemon yellow tint. The ripples of abstract colour reflected in the water helped to balance the hard edged boats with the soft edged marks of the water and the heat haze in the distance.

One of my favourite places in this country to paint, is Southwold.

This is mainly because it is a nostalgic step back in time and there is a feeling that you are in a unique and special place, which allows all your senses to become highly tuned.The dominant primary colours in the painting, “End of the Promenade, Southwold”, caught my eye and I just had to paint these three brightly coloured, different man-made shapes which, in a strange way, fitted in perfectly with the relatively unspoiled coastal backdrop.

It is a slightly unusual composition with the blue chalet positioned slap bang in the middle of the picture. However, the diagonal line of the promenade takes the eye to the right hand side of the bathing hut allowing the figures to take the eye futher into the picture and round to the very bright horizon. The painterly effect of the distant beach is echoed in the treatment of the clouds , whose mauve grey and raw umber shadows are repeated in the horizontal lines in the foreground.

MATERIALS & EQUIPMENT.

My materials and equipment have remained relatively unchanged for a number of years , except for some slight modification here and there. As I have said earlier, I use pastel card with a surface of fine pumice powder for my support. I prefer the very soft pastels, which include some of the Sennelier, George Rowney and Unison ranges, although I have odd colours, tints and shades from a number of different manufacturers, which I use for a variety of reasons.

I attach my pastel card to a sheet of 5mm. Foamcore, which is incredibly lightweight and an absolute godsend when I am having to lug my equipment any distance. Luggage straps have become essential items which I use to secure my board tightly to my easel, otherwise the wind can make my work chatter furiously like an unsecured jib sail.

As I always stand up to paint, my only other piece of equipment, besides my box of pastels, is a second portable easel. This I set up in such a way as to be able to fix a drawing board in a horizontal position, thus turning it into an impromptu table to hold my large box of pastels.

A question often asked is how do I transport my pastel work when finished? Well, after shaking the work furiously and blowing away any loose particles, I turn the work face down against the foamcore. Then using masking tape, I keep it held firmly in place so as not to allow any lateral movement which might smudge the work.

In next month’s issue, John Patchett will discuss his method of working in another of his favourite locations, – gardens, especially those gardens that include garden furniture.

Further information regarding John Patchett’s work can be obtained by ringing ( 01502 ) 710491.

Street Scenes / Markets in Pastel

Posted on Jul 4, 1999

LEISURE PAINTER MAGAZINE ARTICLE – July 99. edition.

What is it that makes me want to paint, standing in a busy street or market place?

On the negative side there can be large vans that obscure the view, adverse weather conditions, an ever changing scene and the interruptions by people who are not content with watching in silence.

However, on the positive side there is the exciting hustle and bustle of the place, colour, movement and a scene alive with people. All the ingredients that make for an exciting composition with it’s array of visually interesting elements. Counterchange, perspective, texture, tone and contrast, all interplay and create dynamics before your very eyes!

Making a start, a common comment often made by those wishing to engage on such a task is, ” I wouldn’t know where to start? ” Well, like all painting, it starts by using the head, the heart and the eyes.

For me, capturing the ‘spirit’ or ‘feeling’ of a scene is essential.

I love to be out there, looking, experiencing and being part of the live performance that gets played out each day.

Now, how to convey this. In the case of a market scene , I do like to spend some time initially, just looking and noticing all the things happening around me. Paying close attention to the light source and how it creates shadows, form, highlights and alters the colours within the composition.

Usually a thumbnail, or small sketchbook sketch, helps me see and organise my thoughts. These being- What is essential? What might be omitted? What, in particular, might present a problem and how might I resolve these problems?

Once I have established ( via a small sketch ) the composition in simple terms, I use natural charcoal to put in the dark areas as quickly as possible.Then working loosely without applying very much pressure, I try to create an ‘all over’ effect of dark masses, a suggestion of recession where it occurs, a mere indication of architectural form and put in constructional lines, which will start to hold the composition together.

After an hour of working quickly, freely and with a light touch using the side of the pastel to avoid any hard edged marks, I hope to have created a general overall feeling of the subject. This will allow me to not only be able to work into it with stronger colour, tone and texture, but to have the work in such a state that any alterations, at this stage, can be carried out easily and naturally as the painting evolves.

I find it important to avoid steaming ahead with any one part of the painting and therefore leaving other areas still in their initial stages with lots of work left to do. To me, it’s a little like bringing all the sheep in ‘together’, working on all areas of the painting at the same time, slowly letting it take shape and allowing it to have a life of its own. This enables me to keep the overall effect fairly resolved at all times.

Like many painters, the biggest problem for me is knowing when a painting is ‘finished’. I’ve always said that if I ever win the lottery, I will employ someone full-time to stand behind me with a large rubber mallet and when that person says, “Thats it, stop!”,( and of course I probably wont ) for them to hit me firmly on top of my head if I dont at least stop and consider what I have done at that stage.

Including figures Pastels, by their very nature, do not easily lend themselves to drawing and painting details. They are however, particularly effective at suggesting details.

Putting people into your painting can be a traumatic thing to attempt. Drawing figures in your sketchbook of two and five minute duration and practising over and over again, will help you gain the essential confidence needed.

Having said that, when out on location people walk, talk, turn around, stop, sit down and rarely keep still. I find this movement stimulating and need to observe carefully where a person’s weight is distributed. Is it the left leg or the right? Are they leaning, stooping turning their head, lifting their shopping bag or gesturing as they talk
to someone.

Once I have absorbed this information, I quickly try and capture it with as few strokes as possible. Sometimes someone will sit on a bench, as in Autumn Days, Norwich Market . I’ll grab the essential colours but by the time I have drawn their top half they’ve jumped up and left! Usually I then go to work on another part of the painting. If I really need a model to ‘finish’ off the figure, I wait for someone else to sit down. In fact quite a few of the figures in the paintings illustrated are made up of more than one person!

On closer inspection of some of my original paintings, you might see one armed, one legged, even no headed people, but unless it really looks out of place it’s better to leave someone, or something, half finished than over worked.

It is so important to treat all areas of the painting in a similar fashion, for to try and carefully include a person’s features when you have treated the tree’s foliage loosely, would cause your work to look quite disjointed.

Working from direct experiences I do like to paint when the sun is shining. Light can cause a scene to go into unpredictable dimensions. Colour immediately loses it’s local hue, shadows mute and carve out deep tonal areas of the composition and highlights can enrich, enliven and create that ‘It’s good to be alive’ feeling, allowing the viewer to travel around and through the picture with fresh eyes.

It may be because I have been living and painting in Australia, on and off, for the best part of nineteen years, that I do come alive when the sun shines, which in turn makes me receptive to the effects of sunlight on my subject matter.

For me, painting in ‘plein air’ is essential in order to obtain that light, rapid, delicacy of touch that the pastel medium affords the artist so readily.

To quote the great french painter Eugene Boudin, “Three brushstrokes made in the open air, on location, are worth more than two days work at the easel in the studio”.

10 Top Tips

Here are some tips, which you may find useful, when working with
pastels on location.

1. Choose a coloured sheet of pastel paper, or card, to suit your
subject.
2. Start ‘lean’ and ‘loose’.
3. Try and work as quickly as possible.
4. Don’t press too heavily and allow for a build up of layers.
5. Use a hogs hair brush, or stencil brush, to clear away mistakes.
6. Keep your initial concept clearly in your head.
7. Be receptive to accidents and incidents, if they contribute to what
you are trying to achieve.
8. Use fixative for a good reason; creating a barrier, darkening an
area, holding a heavy build up of pastel in place, etc..
9. Tap the back of your work with your fingers for at least a minute, to
remove any loose particles.
10. Turn your work face down against your support board with masking
tape, or bulldog clips, and hold it in place, avoiding lateral movement.

In next month’s issue, John Patchett will again be discussing his approach to ‘plein air’ pastel painting, but this time he will be looking at ‘Coastal Scenes and Boats’.

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