Hi, Shari! I’ll be glad to share everything I can—tho will be in several installments. For these small paintings, I found the pale-blue plastic handle triangle-shape tool extremely useful—and was sooo glad that I had ordered extras when I ordered the full set of Pan Pastels from Dakota, so that I had several to use at once. (By the way–I noticed Dakota has the full set–well—all the sets—on sale!!!)

I used the edge of the triangle tool a LOT! Also the flat of it—along with the other handled tools. And the wedge sponges a lot. I had even eventually experimented with carving down one of the sponges that was a bar shape with oval ends. Turned out that the very, very thin line I was able to achieve let me get into some of the very fine spots of strong light I wanted to build up—but probably used the triangle handled tool for those smaller, finer areas the most. The grasses and other longer, narrower areas–usually picked up color on the edge and then simply pressed it against the painting. This worked soooo well!

I’m the kind of painter, when using oils in particular, that has maybe 20 painty brushes in use, liking to reserve one for a particularly (for example) dark, dark green—another for a medium-valued warmish green and yet another for a medium coolish green, and perhaps a nice lighter green on another brush,etc. And even there I keep changing qualities of the color—but within the narrower parameters, so I keep my colors cleaner, preserve many of my general mixes—and sometimes exact mix to be used when I come back to the area—and most importantly, don’t have to keep cleaning off the brush or other tool—-and I found the same things at work with the Pan Pastels. Again—I was sooo glad that I ordered extras, even tho the company supplied a really good number and variety with the full set! And it is so easy to clean off any of the sponges with a few pulls over paper towel.

Here are some pics of the trays I made with foamcore board for the PanPs and their tools. I’ve found them really handy to carry them from my personal studio to my classroom studio where I’ve let several of the artists use them. Right now, they are sitting on the table at my pastel easel—and plunked right down on top of my Art Spectrums, which I keep immediately at my right hand. I’m going to have to figure out how to work these in to my set up, which right now is way past capacity to even add any more table top space and still have room left for all my other works in the studio. LOL! But—I’ll think of sumthin’! I always keep the pastel brands I use the most within the easiest reach.

I took these pictures pretty early on–so there are not as many colored-up sponges as there are now! The white sponge triangles you see are some that one of the artists who studies with me brought from the salon where he works. They are much, much softer than the ones from the PanP company—and don’t work very well for much of anything—with rare exception! There are some white sponge double-ended tools he also brought which do work pretty well—tho again, I generally prefer the double-tipped little tools from PanP. I used them a LOT, too! And they are really handy for smaller areas and accents and such. I was also drawing with them in several of the experiments I was doing earlier.

You can see in the pic above the sky-blue colored sponges, some of which I’d set ‘face up’ in the little white box below the foam trays at the lower right—and around them, you can see some of Terry Lugwig’s blues which live in that area of the table. There is a large round sponge balanced on the trays with the pans, full of dark and medium ultramarine. Below you can see where I was beginning to work on the 20″x28″ landscape.

The light-filled leaves on the “Woods” painting are mostly handled with these small double-tipped tools. I really loaded up the tip with pigment then laid it on to the painting, perhaps pulling it a bit, then would reload.

When I was painting the very light leaves in ‘Woods’ I found it very important to be sure each stroke had it’s own interesting variety and personality as much as possible, (as in any painting situation) so that the leaves did not look like boring polka dots!!! Irregularity is one of the prime qualities of the look of things in landscapes (and so much else!) So–very important ‘touch’ to learn.

Guess I should share something that really hit me squarely in awareness!: As with our pastel sticks, as with our oil and acrylic and wc brushes, and so with our PanPastel tools, it is absolutely vital to develop a FEEL for each tool—its uniqueness, its range of possibilities, its limits and limitations, outcomes of various pressures, drags, draws, dabs and twists and turns—NOT in a gimmicky way, but in a way that is carrying out your own sense of expressiveness for every stroke you are making.

And—we do our very best when we stay very deliciously aware of that place on our painting and on our painting tool where the two meet! Think of the Sistine Chapel ceiling painting of Adam’s hand reaching up to touch God’s hand reaching down—and that magical point of the two finger tips connecting! That point—that precious connecting point where everything that is happening at the moment IS happening! Feel it. Stay constantly aware of that connecting point and the sense of it. Aside from honoring that point, you are also gaining constant information! Really, truly! How light your touch is, how heavy. How easily the tool is slipping across the painting surface with pigment, or how hesitant, etc. I promise it can make remarkable differences that are often hard to imagine. And can be a habit one needs to develop.

Also—I find that there are at least 4 general ways of starting and ending a stroke—whether of a PanP tool, a stick of pastel or a brush. Maybe think in terms of airplanes taking off and landing—and the differences between winged aircraft and helicopters. OK—don’t laugh too hard:
• Winged–coming in for a gradual landing–taxi a bit across the painting–gentle, gradual take off
• Helicopter–abrupt straight down–taxi a bit across the painting–staight up again
• Combo-W-H–coming in for a gradual landing–taxi a bit across the painting–staight up again.
• Combo-H-W–abrupt straight down–taxi a bit across the painting–gentle, gradual take off

Now—you can get so many wonderful different qualities using the 4 variations above—and I used these constantly constantly—with the Pan Pastels and with any sticks or brushes I ever use when painting in any medium! Each of these variations in beginning a stroke and ending it has huge influence on the look of the stroke–and there will be differences depending on whether it is the first stroke of pigment laid down on that area of the painting, or whether it is many layers up. A lot of that is experimenting and experience. So–do ‘play’ with it. Develop some really fun, sassy, special “English on the ball” as they say!

And when you are pulling the tool/stick/brush across the painting, there again are so many possibilities with your pressure, how fast or slow, if you pull straight or twist in some way or give greater pressure to one edge or another.

I used all these variations throughout the paintings.

Something I learned is that for really rich color, (which I LOVE!) I found it useful to load up the tool often—which is exactly the same thing I’ve learned with brushes with oil and acrylic. Something I see soooo often is an artist working in oil just “pawing and pawing” the painting surface with the brush, long after it has given up most of its paint—and I noticed it with one of the artists borrowing my full set of PanPs the other day. She was also complaining that the color was not being very rich. LOL! Had to agree! But as soon as I loaded up the sponge, laid on a couple of strokes, loaded again, stroke, stroke, loaded again—etc! Very luxurious, rich color that she was thrilled with! She was using Rives BFK white rag etching paper. She eventually abandoned that and went to the Colourfix—and decided she was drastically happier with the latter. Haven’t tried it on Wallis yet, but will. And some other papers. But loading up the sponge is so important—just as with the brush! I sorta suggest a ‘rule’ about oil paint—one, two or three strokes, then reload. Same is proving so nicely true for the Pan Pastels. There are times with either where we can do more, but–for the most part, reloading often will probably satisfy you far more!!!

I was eventually picking up 2 or 3 pans at a time and holding them in my left hand as I painted. Was very easy to put them down and pick up others. Mostly did that when I was covering some larger areas, particularly at earlier stages, or when building up very rich layers.

Now there is sooo much else to share, but right now—the pillow is calling! Will add more tomorrow. I’ll mention some things I discovered about ways of mixing colors. I’m so persnickity about color, so it was interesting to find ways of working out particular color combos, such as darker, warmer, lower-intensity greens that don’t reek of pure thalo! But—hopefully this gives you some things to experiment with for now! Enjoy! Take good care! Donna ;-}

Donna,

Can I be so cheeky as to ask what exactly came in the way of tools with the Full Set of Pan Pastels. Could you put them together and take a pic so I have a good idea.

Hi, Carolynn! LOL! First I have to thank you for thinking I might be able to remember ‘clear back to when’ I opened the box of Pan Pastels–maybe two months ago! The good news is—one of the artists who studies with me also ordered the full set—and she’s only had time to use the wonders once and then has been in Italy for several weeks. Tomorrow I’ll photo her set, which is still fairly in tact as far as the tools, tho she also ordered some extra sponge tools. Mostly I remember that there seemed to be at least one of everything in the full set—plus extras of some of the sponges plus extra sponge covers for the tools with handles. I would still order extras and am so thankful that I had ordered more. But part of that is my working style. It’s really very possible to do anything with one of each–and just clean them between colors with a couple of swipes on a paper towel.

I am only an amateur when it comes to painting

Ahhhhh—I always think in terms of the original meaning of ‘amateur’—‘lover of….’ I’m so sorry we have lost that lovely connotation. At any rate—you love painting! yea!

( I use Watercolour and Soft pastels, the later my absolute favourite). I have the Full Set of Rembrandts and the Full Set of Schminke and quite a few Art Spectrum, mainly the Australian Colours and a selection of 36 Windsor and Newtons and a handful of Conte and a 48 Set of Derwent Pastel Pencils all Courtesy of a very generous Husband, Monty. I was sort of wondering about the Pan Pastels as they sound like fun, however the last time I ordered from the US it was the postage that was so expensive. I got the Sample Paper pack and 4 sets of Sample Soft Pastels from Dakota all at a good price and their service was excellent, it was just the freight that was so very expensive. I’m almost wondering if I was bale to get them through one of my kind friends over there that it may be cheaper for them to post for me. ( Just an idea).

Sounds like you have a great selection of colors! (Irronically, perhaps, AS’s are my ultra-favorite brand of pastels and I have aout 4700 different sticks—25 brands—well, 26 now with the PanP’s—and I have been using the AS’s for 75% to 80% of my work for years.) A couple of months ago—seems like there was a report that the PanP company was going to begin exporting, so—you might even want to contact the company to see what the plans are. And good for them to know of your interest! This is their web address. http://www.panpastel.com/%5B/URL%5D

Have to run it by Monty first of course though. With the exchange rate so good as it is at the moment it may well be worth my while. Haven’t seen or heard of them advertised here in Australia yet, and there are a lot of art materials that you guys have that we don’t have the opportunity of even looking at unless we send away for them.

Take for example, if I was to get the Pastel Journal here from the News stand, it would cost me AUS$18.95 ( US$17.43 )per journal where as if I was to order it through subscription it is absolutely nowhere near that price at all. :confused: :confused:

I love your “Woods” painting, it looks so cool and relaxing, I could just go and sit under one of those trees and sit and listen to the nature around me or quietly read a book.

Thank you, Carolynn. It was a gorgeous place—a large hosta garden with a very deep creek surrounding the yard and these trees at the ‘clearing’ going back toward the creek and well beyond. I took this photo late in the afternoon at the Heartland Hosta and Shade Plant Society garden party for the members. It was a lovely combination of light and shadow, and I really wanted to capture that fleeting moment! And yes—a perfect place to relax, enjoy the sounds of nature and—if I had not been joyfully capturing other lovely vistas there—enjoy a good book!

The colours of the Pan Pastels look so nice, am looking forward to further installments of your lessons in the use of them. THANKYOU VERY MUCH.:clap:

Take Care and have a great week.

Lots of Love Carolynn

Thank you!!! I’m going to write a bit about the adventures I had in finding great ways of getting color mixes I wanted! Love and Hugs to you!!! Donna ;-}