Delve into our vast collection of guest blogs and read about the intriguing methods that artists apply while using Unison Colour pastels.
I really loved working with you all on our Old Harry Rocks Five Day Pastel Challenge last year. I thought that you might be interested in hearing how it came about and the work behind it.
If you use social media, then your followers can comment and “love/like” you in the virtual world, but what about entering pastel art competitions?
Who would believe what possibilities and potential lie inside these neatly wrapped lozenges of colour? They are essentially chunks of pure dry pigment, more intense in colour than any tube of paint.
I often get lovely comments about my work from people at art shows. One that crops up regularly is ‘I’ve tried pastels and just can’t get on with them’.
I’m relatively new to pastels (I normally paint in oil). I wasn’t sure about signing up for this challenge, mainly because I didn’t know the
For most of my life I assumed art was not for me, obviously I tried it at school, but I was never that good.
Colour is, and should, be a life-long pursuit for any artist. Its use, makes, or breaks, any artwork. Very often less is more, and colour could often be amplified by its absence.
Working on this image for so many hours made me realise what an amazing master Renoir was.
I had been dreaming of this set since I first tried a Unison pastel, 4 years ago.
It is so easy to get into the habit of painting from 2D reference particularly when the weather isn’t good and forget that looking at the world in 3D is essential.
Pastel is not a medium that you often think about mixing colour or limiting your palette. I have even heard it said, “You cannot mix colour with pastel.” I beg to differ.
I spend a lot of time thinking about how greens are seen, or not seen, how they can be captured and are so impossibly hard to capture.
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