Good Conservation Practices:

- always use acid free mats

-don’t use masking tape to tape mats

-mats provide a beneficial air space between artwork and glass

-use a reverse bevel and/or a spacer for pastels (somewhere for pastel dust to go)

Appearance:

-width of the mat is important, as a general rule, don’t skimp

-don’t make the mat borders the same width as the moulding; also, the inner mat should not be the same size as the outer mat

-standard practice is to weight the bottom

-color: generally don’t pick up the accent color, the complementary to the accent color often works

-saturation: often works better with low saturation (grayed tones)

-mat should not upstage the artwork

-mat should create a visual space for  the artwork that enhances the work without stealing the show

-different colors, often cool verse warm, affect the projected mood

-the artist can get creative but the result shouldn’t distract

Examples:

This bright yellow mat picks up the accent color of the painting, which is the yellow from the flower. It takes over, and doesn’t let the flower come out as it should.

These two mats work better.  One is a muted purple, and the other is a grayish blue/green.  These colors are more complementary to the accent color of the yellow flower. They let the flower pop. The grayish tone works better because it does not distract from the painting.

It is fun and interesting painting with someone else, because everyone has their own way of working. My favorite part of David’s painting of Moose River is the reflections and how it moves you through the zig-zagged river. Having been kayaking on this same river myself, David does a great job capturing it.  David always has strong values in his paintings, and working with him has helped me with values in my own work, something I sometimes struggle with.

We welcome comments.  We’d like to know your reactions, and maybe we’ll do it again!

David and Emily

Moose River 7

I worked on incorporating the Kayak into its environment by deepening the colors, adding a wake, working on the reflection, and adjusting values and color around the shape.  I extended the tree in the upper right to become cropped.  Finished!

Road to Dingle 7

I lightened up some areas, including the fields and sky. I’ve also added a post on the other side of the road.  Just touches to finalize the painting.

Moose River 6

The kayaker’s now in the painting!  I’m ok with his size – smaller than the outline.  I need to anchor him in by adjusting values and color around the figure, and also add a wake for the kayak.  Also, I’m not happy yet with the reflection of the kayak.  Maybe it’s too literal.

Road to Dingle 6

I tried to focus on the way sunlight was coming from the right, and the way it would affect the bushes. grass and road in the foreground.  So I added shadows and spots of sunlight.  Also, I tried fixing the field in the middle of the painting.  The angles of the dividing lines seemed off, so I changed some of them, and varied the greens.

Moose River 5

As I continued downward, I worked on the grassy peninsula on the right side and its reflections.  I also worked on the reflections in the foreground, enlarging and refining the light-valued shape, a reflection of light from the unseen sky.  I like the effect of passing from lighter values to darker ones as the eye travels upward in the painting.  I’m keeping in mind that the reflections are primarily a vertical texture, while stream movement is horizontal in the form of ripples.

Road to Dingle 5

I’ve lightened up some of the values in the background and sky.  Also, I added to the foreground, including sticking in fence posts.  The town is starting to take shape a bit, and the outskirts as well, where I’ve added a house, blurring it in a bit with the field to make it subtle.

Moose River 4

I worked on the background in the top third, bringing it in my mind to the point of completion except for fine tuning to complement other shapes and sections as I proceed.  I am still putting off doing more work on the kayaker.

Road to Dingle 4

I’ve worked on developing the foreground, adding in value and detail in the shrubs and road.  I’ve also added more colors to the hills and fields, and worked a bit more on the land across the bay.

I like the colors to tie together the painting, so I do things like add the pink from the road and hill into the sky.

Moose River 3

I tried to cover the entire area with pastel but still don’t consider any part complete.  I feel have the kayaker sketched in too large.  We’ll see!  I want the scen to be of the Moose River, with the kayak playing second fiddle.

Road to Dingle 3

Here I’ve worked on the foreground, putting in dark shapes.  I’ve decided that the darkest values were going to be in the left part of the foreground, in the shrubs that I’m adding.  I’ve also added a few loose details in the mid-ground, where the village is.  The land across the bay is also being added, and I’ve blended and blurred colors to make it soft and stay in the background.

Moose River 2

Second Day: David’s “Moose River”

I started in with the lighter and brighter shapes of grasses jutting into the river and played with some of the reflections by turning the pastel pieces sideways for wider strokes.  The light circle in the lower right will become a man in a kayak.  The tree trunk in the upper left was a successful experiment to make sure I could lay light over dark, since I plan to work light over dark in the upper 1/4 of the painting.

Road to Dingle 2

Second Day: Emily’s “Road to Dingle”

I continued adding more color in large areas to get a feel of the overall color scheme.  There’s alot of blending that I do at this point.  I continue to cover as much of the painting surface as I can and slowly build up values and shapes.  I also started planning the fore, mid and backgrounds.

Moose River 1

First day:  David’s “Moose River”

I lightly drew in the basic shapes with a cream pastel, then added a little of the darkest and lightest values to get a feel for the maximum degree of contrast I would be working with.  I plan on working from top to bottom a good bit, since I tend to get my mitt into the chalk!

Road to Dingle 1

First Day: Emily’s “Road to Dingle”

I drew in the shapes for a basic contour drawing with a light pastel to start things off.  I like to cover much of a painting at the beginning, to get a feel for colors, and usually work light to dark.  So I started putting down patches of color.