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September 2009 ISSUE 4 VOLUME 1
EDITORIAL SCRIBBLEThe summer is behind us and hopefully you got
a lot of light
and energy that will shine through your work. The approaching
Autumn will be significant for our society. We are awaiting a small
article in the Pastel Journal that should inform more Europeans
about us, and we got our first Sponsor. The Colorfin LLC has kindly
offered to award out Get Dusty winners. Find more on this in Get
Dusty article.
We present the third and the last article in the Degas series
where Charlie explains how Degas approached the colours. Find more
on ballerinas in the interview with Charlie who is our Get Dusty
winner for this month.
Gary explains in detail how he approaches painting with his
Black Cat demo.
We introduce the listing for pastel workshops happening in
Europe and list of Competitions that all Europeans can apply to.
This for sure is not the final listing and you are welcome to add
more.
Happy painting! Mario Vukeli
GET READY...GET DUSTYThe winner for month of June on theme
Freedom by popular vote is Charlotte Herczfeld You can find a short
interview with Charlie in this edition of Pastel Scribbler.
The Pastel Guild of Europe is proud to present our sponsor,
Colorfin LLC, who makes the exciting new form of very soft pastels
in a pan, PanPastel . Art materials created by artists, for
artists. Become a member, take part in our monthly challenge Get
Dusty, and grab the chance of winning a set of 20 PanPastels with
Sofft tools included. Visit Get Dusty web site at
pastelguild.eu/dusty.asp to learn more.
The theme for September is Bountiful.
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ARTIST LOOKING AT: The colourful world of Degas By Charlotte
Herczfeld
Much mystery surround Degass use of colour. As he didnt publish
his methods, we have to look at what is written about Degas, and
look at his paintings, to try to figure out how he painted colour.
This article is one such attempt, luckily made easier because the
many unfinished works of his that are preserved.
A few things are well-known facts. His preferred brand was the
exclusive handmade Roch pastel, which is still made today, by a
descendant of Henri Roch, in the same manner as during Degas time.
Soft sticks of pigment in brilliant colours, with very little
binder or filler, surely attracted Degas as much as any pastel
artist today. An interesting curiosity is that Degas owned Quentin
de la Tours own pastel sticks, as well as several works in pastel
by de la Tour. In the picture we see Degass own box.
Tints were obviously accessible to him, and we know that Henri
Roch made an amazingly wide and large array of colours and tints,
much larger range than the brands of today. Degas used few earth
tones, the main ones seem to be Red earths (iron oxide), and yellow
earths like Sienna and the Ochres, which are very good for warming
and brightening shadows, where the pure pigments would be too
bright and lighten too much. He probably used charcoal with its
soft blackness more than the harshly black pastels pigments.
In the second half of the 19th century, much research was made
into colour, and a plethora of colour wheels were made. There is
little evidence in writing that Degas took part in the discussions
and research that the Impressionists and the scientists were
involved in, but clearly he knew his colour theory. In his
notebooks, there is a quick drawing of a colour wheel with
divisions and written names of colour. One distinguished academic
comments that the wheel is not accurately divided into equal
proportions of the colours. When we compare Degass wheel to the
proportions of Newtons colourwheel, we find that the similarity is
more than coincidental.
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Degas experimented with many techniques, and also developed his
methods over the years. A method he used often was the
following.
DrawingHe started with a charcoal drawing, carefully blocking in
the areas that were to be dark. A surprising number of paintings
are painted from start to finish on tracing paper, an indication
that he indeed traced his photographs (see first article in the
June issue of Scribbler.) The drawing was then fixated heavily,
locking in the charcoal, so it wouldnt blend with the clear hues of
the pastels and dirty the strokes, but provide darkness under the
brilliant hues.
UnderpaintingFirst he used local colour that was blocked in
using the side of a pastel stick, and this was
done over large areas. He may have strengthened the charcoal
lines if he lost them.
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In later years, he still blocked in large areas, but in other
colours than local colours. Sometimes he used complementary
colours. Degas may have used fixative or matte varnish over these
layers. Degas noted that it was important to set the large
structure of the painting first: It is essential, therefore, never
to bargain with nature. There is real courage in attacking nature
frontally in her great planes and lines, and cowardice in doing it
in details and facets.
PaintingThen he started to build up the layers by scumbling over
the previous layers, letting them
shine through. It seems like these strokes were shorter and not
dense, but still rather large. There are reports that he used
fixative often, so the strokes mixed optically but not physically.
Lines with charcoal were applied as needed.
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FinishingAs a painting progressed, he used hatching strokes,
weaving colour like weft and warp, fixating often. This allowed him
to fine-tune the effects he strived for, and the fixative
solidified the previous layers, giving the painting more tooth. He
used rather long parallel strokes that got the nick-name zbrure,
zebra stripes, a very apt description, as he spaced his strokes.
His marks often didnt follow the form of the object, instead they
followed the form of the patch of colour. He would also focus more
on painting the smaller details that were the embellishments on the
solid compositions hed built up.
Of course he could stop this process at any given time, in any
area. That means that, for example, a background could be left in
barely more than the underpainting stage, while a chair was left in
the middle
of the stages, and the figure brought to full completion. That
would put most emphasis where he wanted it, as our eyes tend to see
the more varied and worked surface as the area of interest. In the
unsigned and unfinished Woman drying herself we can see how the
wall is started in a warm orange-red, and then worked over with
blues and greens. He is using the whole spectrum, making greys and
neutrals by adding complementaries and other colours.
By working in this manner, Degas was able to create areas of
complex glowing colour that defied description, mimicking the way
the eye sees colour, which in is reflected light bouncing off a
surface. Denis Rouart commented that Degas used the technique of
making colours play against each other by superimposition.
Regarding transparency, Rouart said that Degas achieved the effect
by working in successive layers, not covering the lower layer
entirely but letting it show through.
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One of his models, called Pauline, tells what she saw of his
practice: ... dancer at the barre reappeared in a number of
pastels. In one, she was dressed in green and stood out against a
background of violet; in another, the background was yellow and the
costume red, and in a third she appeared in a pink tutu against a
ground of green. Further he painted his subjects with different
tones, endlessly varying the colours...
It startled his contemporaries when he worked over complementary
colours. George Jeanniot may have seen something like this picture
when he commented that he had seen a painting in Degass studio that
was begun in cool greens and blues, only to see it changed into the
key of oranges when he came back after some days. (The two
different paintings have been slightly cropped, for comparisons
sake.)
In the beginning of this series of articles, we asked if Degas
could be an Impressionist, as his practice seemed contradictory to
that of Monet and the others. Looking closely at Degass paintings,
we can work out that he used mainly the Impressionists palette of
chromatic colours of fractured light, like a rainbow. This is
consistent with the Impressionist method. His focus on depicting
light, if artificial, is Impressionistic. Likewise is his painting
shadows with chromatic colours, instead of the tonalist use of
umber, grey, or black.
So, a few points for Degas being an Impressionist, and a few
points against. That is not very conclusive. Of course we can make
an arbitrary choice, placing him in one camp or the other, but lets
find out what he himself thought.
To make a long story short enough for this article, well
remember that the academies had deemed classical art in the history
painting genre to be what artists should paint. In literature,
there emerged a movement in the 19th century called
Realism/Naturalism. Their aim was to describe
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contemporary people in all human situations. Many painters also
became Realists, painting ordinary people in ordinary settings. As
Degas said, before, I would have painted Susannah Bathing, and now
I paint A Woman Taking A Bath. This circle of painters around Manet
met at the Caf Guerbois and made up the Realist movement among
painters. Later, they formed a society that were to become known as
The Independents, who held their first joint exhibition in 1874,
where Monet displayed his work Impression, Sunrise. The nickname
impressionists, coined by a negative critic, stuck to the group,
and most seem comfortable with it. Not Degas, who later said what a
pity we allowed ourselves to be called Impressionists.
Degas regarded himself as a Realist, painting the reality of
life, in the real colours of light.
Charlotte Herczfeld
Most of the pictures are courtesy of www.edgar-degas.org
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REVIEW: Pan PastelsBy Charlotte Herczfeld
Pastels come in a great variety. Now we in Europe have access to
the very versatile new PanPastel, which is exactly as it sounds:
The softest pastel pigment in a pan that looks like eye shadow, or,
to keep the similarity within the world of fine art, like some
round and large watercolour pans. Each of these pans have
approximately 40% more colour and 4-5 times more coverage than the
average pastel stick. This soft pastel was invented so pastellists
can use it as a fluid medium.
The PanPastels and the Sofft Tools are made by the American
Colorfin company, and are designed by an artist, for artists. Go to
the PanPastel site, and see all products, enjoy beautiful artwork
by different artists, get good instructions and watch master
pastellist give demonstrations in instructional videos, and much
more, including a link to the tools site, and where to get the
PanPastels in Europe.
To paint with the Pans you need the specially developed sponges
and tools. The pores of the spongy material picks up pigment
smoothly, and then deposit it in richly coloured layers on the
painting surface. The same kind of sponge, or foam, is used for the
little socks that go on the tips of the tools that look like
plastic painting knifes. If you have ever painted oils with a
painting knife, you will find this process very similar, and the
strokes will be easier to control.
An interesting curiosity is that new ideas often have a history.
In a book from 1757 called The handmaid to the arts by Robert
Dossie, the author has a similar solution:
The carmine, ultramarine, or any other colour which may be too
dear, or not had in sufficient quantity to form crayons, may be
used by means of /a/ leather roll ... This roll is only a piece of
shamoy (sic!) leather formed into a kind of long cone by rolling it
in a spiral manner, and then twining thread tightly round it to
keep it from unfolding. The leather must be so managed in the
rolling as to form a point of the degree of bluntness required; or
if it be too blunt it may be sharpened with a pen-knife. With the
point of this roll breathed upon, the carmine etc. may be taken and
laid on the painting in such touches as may be required, and the
effect will be nearly the same as if the point of a crayon had been
used.
Chamois has a texture similar to the Sofft tool microfiber
sponges, a comparatively very large surface packed into a small
area, so the pastellists of old could use it to their advantage.
The Sofft sponges have many different shapes, giving you the full
control over the marks they make.
The Pans are fully compatible with traditional pastel sticks
that means you can use both in the same painting. Just like
stick-paintings, PanPastel paintings have to be protected behind
glass, and you can use fixative on them too, but the need is less
as the dust adheres to the paper very well.
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The set I tested is the beautiful 20 Color Painting Set. I
normally paint with a larger palette of about 100 pastel sticks
(including tints and shades), from which I pick the actual palette
for the painting. I thought the limited number of pure pigment
colours (12) would be a challenge, but together with black, white,
two greys, and four earth tones, the wonderful colours are so well
chosen you can easily mix them to produce the colours you need. If
you have a little bit of knowledge of colour mixing, this set will
definitely work for you.
A used and messy set like in this picture is absolutely no
problem at all. It really is very easy to use a sponge or a paper
towel to wipe off the dirt. To clean well used sponges and socks
simply wash them with soap and water, and let them dry by
themselves. The socks on the tools can be turned, so the dirty part
is upside and the fresh other side becomes the surface you use. As
you see, the tools have different shapes, for different kinds of
strokes. The square tool is great for painting windows, for
example.
The Pans can be screwed together like caps on bottles into
stacks that have a very small footprint, for storage. When spread
out for painting, they take up a bit of space on your desk or
table.
When testing the PanPastels , I had four questions in mind:
1) How do they compare to other media?
2) Is there a catch, a drawback?
3) Is there a need for them?
4) Can they do anything better than ordinary pastels can?
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Compared to other media
My immediate reaction was: they feel like dry watercolours, as
they give such fluid marks. They are a pastel, but they perform
differently because of the application with tools. They make either
a broader and fuzzier stroke than pastel sticks, or a much more
narrow sharp one if the sharp edge of a sponge is used. As I used
so much white, I thought that I might use it up, but no, the
coverage and colour intensity is so good that a pan will last very
long. And every speck of pigment in the pan can be caught with the
tools and painted with! Compared to watercolour, they allow for a
much higher degree of control, and a better coverage, while
retaining luminosity. Pans layers are definitely thinner than
oil-paint applied with a knife, but can be built up to the same
colour intensity of tints, but not the same impasto. From thin
glazes, to colour-rich layers that cover very well the
possibilities are endless.
Adjustments
The pastellist will discover that the tools need re-loading of
pigment rather often, for a richly pigmented look. A pastel stick
is a bit of dry paint held by the fingertips, so the whole load is
already, as it were, at hand. Painters in other media will be used
to re-loading. The Pans will perform more like a brush, and give a
softer appearance, which is less energetic but very pleasing and
fluidly beautiful. As the PanPastels have fewer tints than pastel
sticks, more blending is needed, but on the other hand it is more
easy to achieve half-steps than with traditional sticks. When
applying a blended colour to a large area, some skill in blending
is needed to produce the same colour for every loading of the tool.
A pastellist isnt much used to cleaning tools and replacing worn
out parts of tools, so some new habits will have to be formed. A
good thing is that there is no need to wash the sponges
immediately, as there is no part of the Pans that dry, and the tool
will stay usable even if cleaning is forgotten for a while. Very
good for lazy cleaners, like me.
Need, and special use
Many people love the velvety finish of a pastel painting, but
cannot stand to get their hands dusty and dirt under their
fingernails. The Pans painted with the tools, will keep your hands
fairly clean. The sponges will not. A great feature of the Pans is
that they appear less dry to the skin, so much that I felt the need
to ask the manufacturer if there was a fatty ingredient in the
formula. No, they replied, there is no fat, the Pans are just so
silky to the touch.
There is really very little dust falling off a painting or
released in the air. Compared to the waste from regular sticks, the
Pans definitely stay on the paper a big plus for the Pans!
The tools and sponges can produce beautifully fluidly flowing
strokes which look very painterly. This is perhaps the biggest
difference to ordinary sticks, which just cant do it. It is
exciting to be able to expand ones repertoire of strokes.
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September 2009 ISSUE 4 VOLUME 1
Subjective viewBefore painting exclusively with pastels, I used
to paint oils with a painting knife, so I felt I
adapted fairly quickly to the Pans and the tools, and the need
for blending. I loved how the sponges could fill an area with
pigment very quickly and completely, but still leave a lively
varied surface, which also could be brought to a high degree of
smoothness if desired.
I painted three small paintings using only Pans, and the set of
20 colours. I was amazed at how versatile the set was, as Id chosen
the motives to be very different from each other. I did feel a lack
of sharp edges for the finishing touches, as the tools leave soft
edges, but in the last painting I had figured out how to use the
edges of the sponges to get clean sharp lines and edges. The Pans
paint skies by themselves, almost effortlessly. They help create
the illusion of distance very well, with soft and blurry edges of
the tools.
I just loved how the skin on my hands didnt dry out, and the
dust was as easy to wash off as stick-dust. After three paintings,
I definitely need to wash the sponges and the socks, as they start
to deposit grey mixed mud, and wiping the pigment off on a paper
towel is not sufficient to clean them anymore. Two socks got some
serious wear and tear, and will have to be replaced pretty
soon.
I really love how the Pans and the tools perform!
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ConclusionThe PanPastels and the Sofft tools are an excellent
addition to the pastel artists
toolbox, as they can accomplish some things better and quicker,
have unique stroke-marks, and a very good adherence to paper and
significantly less dust. The Pans can be used for underpaintings,
together with other pastels. They can be used exclusively to bring
a painting to its finish, and also painted over a wet media
underpainting. Just to mention a few options. A versatile pastel
indeed, which will give your paintings a whole new and exciting
look!
You can win this set (see picture below)! Be a member of PGE,
and take part in the monthly challenge Get Dusty!
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September 2009 ISSUE 4 VOLUME 1
MEET THE ARTIST: Charlotte Herczfeld, SwedenThe winner of Get
ReadyGet dusty content for September is Charlotte Herczfeld,
Sweden. Her winning painting is on the first side of this
newsletter. Charlotte Herczfeld, Sweden, has painted solely with
pastels for only two years. She loves the immediacy and brilliant
colours of the medium, and is devoted to take the pastel
renaissance the world experiences to Europe, where it once begun.
She is one of the founders of the Pastel Guild of Europe, and
currently serves as its Chair.
You chose a ballerina to represent the theme Freedom, could you
say a bit more about your thoughts behind this choice?
Unconsciously, Im sure I was inspired by writing the article on
Degas. Consciously, I gave it some deep thought, as there are so
many things that may represent freedom. I was drawn to the sense,
the physical experience, of freedom. The ballerina seemingly
floating on air is my try to depict the heady exuberant feeling. At
the same time, that freedom is very hard won, through the greatest
of disciplinesballerinas are definitely not dainty, but well
muscled elite athletes. I really like the paradox, as many deep
truths lies in paradoxes, that skill and control gives freedom. It
is the same for a realist painter. Only after many years of
rigorous training do you get the skills needed the freedom for
making the very difficult seem effortless. It is about life,
really, and how we train ourselves to be humans, which is no mean
feat.
Can you tell us a bit about how you came to be an artist? Im so
called self-educated. That really only means that Ive chosen to not
learn modernist
and post-modernist art at university level. My father was an
artist, so I got a very good start at home, and painted my first
oil when I was around seven or eight years old. I didnt take my art
seriously until later, though, as I never got to possess as good a
draftsmanship as my father. I was enticed by colour, not line. But
art was always there, as a hobby, and in my thirties I studied Art
History at Stockholm University, delighting in the old masters. I
was more interested in their methods than in names and dates, and
read everything I could find on how to paint, and tried it out.
Self-taught, means that I had the drive to seek out the knowledge,
and the tutoring. These days, with the internet and all, you can
get yourself the equivalent of very high level education, with some
effort and dedication. Ive studied for several artists, and taken
many classes, and workshops. The impressionistic method of
full-colour seeing has made the greatest impact on me, and I spent
some considerable time in California to learn it from a master
painter.
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What made you choose pastels as your main medium?
Id acquired a full set over the years, and dabbled a bit with
them, often making preliminary studies for oils. Then I got a
problem with my neck and wrists, and had to take a pause from
painting in oils, but I found that I had no pain when painting in
pastels. What started as a necessity, grew to be a great love! When
I found the perfect papers for the method I use, I didnt look back.
No other medium is as immediate as holding a stick of rich pigments
between your fingers and painting! There is no drying time to test
my patience, and the pigments are already dry so they wont change
appearance, ever. It is one of the most beautiful and versatile
mediums Ive tried. Im surprised it has fallen out of use for
finished works, when it is so perfect for just that. Ive recently
returned a bit to oils, but pastels will definitely stay my main
medium.
What are your plans for the future? For myself, I plan to get
better and better at painting, Im really just a student, and hope I
will
be for the rest of my life, as curiosity and willingness to
life-long learning has been the mark of the great masters of old.
Ill continue to build on my career as an artist, and have many more
exhibitions. That kind of thing, the business part of painting for
a living as well as pleasure.
Sharing, community, mutual help and growth, is very important to
me. No artist is an island. Im devoting myself to the PGE, as we
few pastellists in Europe need it for learning and for expressing
ourselves in various ways. We, the board, work to make this start
of the society into an excellent resource and meeting place. It
will take some time, naturally, to develop this seed into a big
tree. The journey is well worth it. So Im back to the Freedom
painting: anything worth wile will take effort.
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DEMO: Black CatBy Gary Regnier
Here is a black cat pastel pencils on Royal Sovereign card. I
use Faber-Castell, Carbothello, Derwent, Rowney and Gioconda pastel
pencils and an integrated colour chart can be downloaded from my
website. I have been painting in pastels seriously for just over 2
years now and often change and vary my methods as I try new
materials and subjects. This method for rendering animals seems to
have stuck with me though and I hope there may be a few useful
things you can use yourself.
For the last 6 months or so I have stopped printing references
and instead I produce a bunch of photos on a DVD slideshow disk
that I play through an old portable TV. This not only saves me a
small fortune in ink but also allows me to produce enlargements and
useful variations. I will usually have one master reference, a
lighter and darker version and a posterised version. This helps
with simplifying and also seeing into shadows. I use a tablet and
pen to produce my initial drawings which will show the basic
outline and the main boundaries of change. An obvious advantage of
working this way is that I can print off the drawing at any size
and transfer to my paper. Once I have the drawing down I aim to
establish the darkest and lightest areas, decide where the light is
coming from and its colour. I then try to establish my mid tone and
introduce some strong colours which will be modified later with
whatever the local colour will be. I use this same method for
portraits of people too.
The first step has given me my warm and cool sides, the lightest
parts are within the ears and the forehead will be my mid tone. For
now I feel that under the chin will need to be my darkest area to
project the face. The paper colour is not important to the finished
painting but was chosen as a mid tone to help keep everything dark
enough to start with. My plan was to lighten the background later
to help make the subject look more black.
I am working in short strokes in the fur directions rather than
blocking in first as this gives me the chance to change colours
more often and decide what I find important and what I will leave
out. I will be blocking in more towards the end when I tie all the
areas together. At this stage I would usually start to put some
detail into the eyes but the reference I had was pretty awful and
the eyes
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very light and flat. So for now I have lightly put them in to
see if I like their look. I have already decided I need to change
them later to something warmer.
In the next stage I have started adding darker colours and
black. I also start blending which smoothes everything out and
starts to fill the paper tooth to allow much finer lines and detail
to be added. If I find an area becomes too dusty and overworked I
use a blending stump, cotton bud or a brush to remove some pastel
whilst still working in the fur direction. It is really a balancing
act now between retaining the early colours and keeping them subtle
enough to give a fairly natural finish.
Continuing in the same way I keep building and adjusting and
start to complete the ears.
At this point I have decided I am happy that things are
balancing out ok so I add a lighter background. I have introduced a
little yellow ochre to the warm side of the nose which I will use
here and there on the light side of the face at the finish. Once I
have completed the rest of the subject I will go over the whole
piece with dark browns, blues, greys and black and use the pencils
to blend everything together.
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In the finished piece after blending I have changed the eyes to
a softer and warmer look. I have added more of the yellow to
suggest some warm light and a few lighter hairs here and there.
See more of Gary's work at gmrfineart.com
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COMPETITIONSartKudos (all
media)http://www.artkudos.com/callforentries.html
The Pastel 100 by Pastel Journal magazine(pastel
only)http://www.artistsnetwork.com/pasteljournalcompetition/
The International Artist magazine(all
media)http://www.international-artist.com/splash.aspx
Jack Richeson &
Cohttp://www.richeson75.com/callforentries.html
EXHIBITIONSOn the 29th of October the Pastel Society of Malta
have the opening of the third annual
exhibition of the society which is going to take place at
Palazzo De La Salle in Republic Street in Valletta, Malta.
PASTEL WORKSHOPS
Margaret Evans, PSA
www.shinafoot.co.uk/
Colleen K. Howe, PSA, AWA
www.colleenhowe.com
October 13-24, France
Maggie Price, PSA
www.maggiepriceart.com
2009 Aug23-Sep 2, Scotland
2010 Oct1-11, Juzcar, Spain
William Hosner Fine Art
www.williamhosner.com
in 2010, Madrid, Spain
in 2010, Amsterdam, Netherlands
Windswept studios
www.slikamilina.ca
www.windsweptstudios.com/
Oct 5-14, Korula, Croatia
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2009 The Pastel Guild of Europe, unless otherwise noted. All
rights reserved.The Pastel Guild of Europe website:
pastelguild.euSend your feedback to [email protected]
EDITORIAL SCRIBBLEGET READY...GET DUSTYARTIST LOOKING AT: The
colourful world of Degas DrawingUnderpaintingPaintingFinishing
REVIEW: Pan PastelsCompared to other mediaAdjustmentsNeed, and
special useSubjective viewConclusion
MEET THE ARTIST: Charlotte Herczfeld, SwedenDEMO: Black
CatCOMPETITIONSEXHIBITIONSPASTEL WORKSHOPS