ZINIO logo
The Pastel Journal

The Pastel Journal September/October 2019

Aggiungi ai preferiti

Pastel Journal covers topics of interest to working pastelists as well as those who work in pastel as an additional medium along with those who are just experimenting with the medium.

Leggi di più
United States
Peak Media Properties, LLC
6,91 €(VAT inclusa)
25,90 €(VAT inclusa)
6 Numeri

in questo numero

1 minuti
keep it simple

Simplicity. To take a complex idea or vision and reduce it down to its clearest form. That’s a goal that drives all kinds of creative thinkers—from writers and philosophers to scientists and inventors. Albert Einstein. Henry David Thoreau. Earnest Hemingway. Steve Jobs. They all had something to say about it. And it’s no different for the painter. Winslow Homer once said: “Never put more than two waves in a picture; it’s fussy.” Artists learn quickly that there’s a lot of power in simplicity, and strive—as they compose and create—to follow the familar adage: Less is more. How astonishing it is, then, to discover just how difficult simplicity is to achieve. “In mathematics the complicated things are reduced to simple things. So it is in painting.”—THOMAS EAKINS In this issue, we feature two artists…

3 minuti
pastel society of america’s 47th annual exhibition

Each year it seems as if the praise for the Pastel Society of America’s Annual Exhibition “Enduring Brilliance” comes in stronger than before. This year’s lineup of impressive pastelists is sure to make the PSA’s 2019 exhibition a memorable one. “Enduring Brilliance” will open on September 3 and be on view at the National Arts Club in New York City through September 28. The jurors for this year’s show—Debora Stewart, Michael McGurk and Jimmy Wright—have selected 175 of the best paintings. Dr. Marcus B. Burke, the senior curator of paintings, drawings and metalwork at the Hispanic Museum and Library, will be the awards juror. Last year, the exhibition saw more than 1,300 entries from 16 countries, and the Society has recorded similar numbers this year. Also to be celebrated at the event…

3 minuti
portrait of a critic

Edgar Degas (French, 1834–1917) was, among other things, a great portrait painter. His portraits weren’t commissioned tributes to pomp and vanity; rather, they document the creative and intellectual culture of Paris in the late 19th century. Degas painted his friends and colleagues, often in their respective studios or offices. Louis Edmond Duranty (French, 1833–1880) was one such friend, a member of Édouard Manet’s artistic circle whom Degas met around 1865. Duranty was a novelist, journalist and art critic. He was also an advocate of the new Realism movement in painting. His most famous critique was published in support of the second Impressionist exhibition and was the first significant explanation of the group’s goals. In a review in 1879, he wrote, “The astonishing artist, Degas, is at this exhibition with all his brilliance,…

1 minuti
saving face

The face is, for most artists, the most difficult subject to draw. Anatomically, the head and face are two of the least complex parts of the human body. The human skull consists of 22 bones—14 facial skeleton bones and eight cranial bones. By comparison, two arms and hands have a total of 128 bones. So if the face is so simple compared to other parts of the body, it should be relatively easy to draw, right? Wrong. The primary reason is familiarity. If you draw an elephant that’s 70 percent accurate, people will look at it and say, “Great elephant.” But if you draw a person, especially a subject known to the viewer, even just 1 percent inaccurately, the viewer will say, “Looks good, but something isn’t quite right.” About (the) Face So…

2 minuti
basic facial structure and features

These general guidelines apply to the proportions of most faces, and they allow us to measure the space between features and create a sort of road map to the face. Study the lines in the photos and the listing of key features to understand the basics. In this side-by-side comparison, the model is in profile as well as straight on. Closely examine the lines placed over these photos: the relationship between features such as the brow and lips, and that of the hairline, eye line and base of the chin. If you look at the lines indicating the top of the head (note that if your model has thick hair, this can be just below the hairline) and chin, you’ll see that the eye line is almost halfway between those two…

1 minuti
what makes a likeness?

Many elements go into creating a successful portrait. But while we often spend a great deal of time and effort focusing on individual features, it’s the placement of those features that’s the most important principle in achieving a likeness. If you find yourself fixating on the details of a nose or mouth, stop yourself and remember that it’s the overall shape, form and placement of these features that are more important. This is why you can still recognize a friend from a distance or when she’s wearing sunglasses. It’s why, when your neighbor grows a moustache (or shaves one), you still know it’s him. We see overall shapes long before we see singular features. Detailed Features/Inaccurate Placement This portrait looks a little like Sharon, but in alien form. Surprisingly, the features are 100…