L I G H T & S H A D O WW I T H M A R L A B A G G E T T A

A N O N L I N E W O R K S H O P

CONTENTS

Self CritiqueCommunity Sharing

Resources

3

4

1 The Form Principle

2

3

4

1

2

5

IntroductionMaterials

STUDIO STUDY ASSIGNMENTS

Properties of Light

Color in Shadow

Value Patterns

A Sunlit Path

Backyard Plein Air

Figurative Study

Masterwork - Inness

Capstone

©Marla Baggetta 2019 all rights reserved

After the slideshow of artwork, I’ve presented a series of short videos that focus on the technical aspects of painting light and shadow. Then we’ll jump into a series of demonstrations and accompanying assignments that give you a chance to employ the principles and practice using them.

I recommend that you do each assignment first using the provided reference then do your own version using your own source materials. Please feel free to ask any questions you may have along the way. After you’ve completed each assignment you can up-load your images and get feedback from our vibrant community of committed learners.

This workshop has an introduction video, 5 video

tutorials, 5 assignments and 3 informational videos.

I suggest that you watch the videos and complete

the assignments in order. It’s always best to use your

own reference material, but if this isn’t possible, I’ve

provided reference for you. There are also two books

which I recommend you purchase and use as supple-

mental reading material.

Most importantly, remember to enjoy the process.

Keep in mind that these assignments are intended to

help you expand and explore. So, have fun.

Welcome! Thanks for joining me and my other stu-dents for this online workshop, Light & Shadow. This workshop is probably the most advanced that I’ve developed thus far and will provide you with tech-nical information to help you create compelling and emotive art depicting any subject that inspires you. The principles presented apply to everything in visi-ble light. When we’re attracted to a subject, it’s usu-ally not the actual “thing” itself, but the way the light falls on it that is inspiring to us. When light works its magic, creating mysterious shadows, sparkling irides-cent highlights and nuanced reflected lights, even the most mundane scene can be transformed into one of infinite beauty. Personally, I’d much rather paint the way the light dances between some blades of grass than a grandiose mountain range. That’s why I’m always saying that it doesn’t matter what we are painting, whether it’s a lush landscape or a roll of pa-per towels it can make a successful, beautiful paint-ing. Mastering the principles presented will literally open up a new world for you where your skills and ideas can meet.

Before we begin our study, you may find it interest-ing and instructive to linger over the slideshow of paintings I’ve put together in the introductory video. I’ve interlaced the work of old masters and modern masters, to show how the principles of light and form have a long tradition in art and are just as relevant today as they were in the past. Take your time and enjoy the paintings. I’ve included pieces that show-case a wide variety of styles yet all of them employ the same principles of light and shadow. I hope they will inspire you to search for ways to capture the magic of light.

INTRODUCTION

ASSIGNMENT 1 • Your pastels •14 x 14 piece of Green Leaf Colorfix

ASSIGNMENT 2 • Your pastels • 9 x 12 piece of Pastelmat (any color)

• Plein Air easel set-up • Viewfinder

ASSIGNMENT 3 • Your pastels • 9 x 12 piece of white Pastelmat • A small set of watercolors • An old bristle (hog’s hair) brush • A 2B pencil or Cretacolor Monolith Pencil

ASSIGNMENT 4 • Your pastels • 16 x20 piece of Greenleaf Colorfix

ASSIGNMENT 5 • Your pastels • 9 x 12 piece of Pastelmat (any color)

MATERIALS

PASTELS I use Terry Ludwig, Nu-Pastels, Mount Vision, Unison and Giraults but I also like many other brands such as Blue Earth and Schmincke. Please do not use or buy Alphacolor or Prang pastels. Do not use Oil Pastels for this workshop because they are an entirely different product and medium. I recommend the Senne-lier Paris half stick set of 120 for those who would like to purchase a good starter set. A great addition to any pastel set would be Terry Ludwig’s set of Intense Darks II. Please prepare your pastels for working by taking off the wrappers before the workshop. Arrange them by color family and value. This will save you lots of time during the workshop and improve your painting!

PAPERThe sanded paper you use can be the brand of your choice such as Pastelmat, Pastel Premiere, Uart or Colorfix. Please use a sanded surface for every assignment.

REFERENCE MATERIALFor this workshop your choice of reference material is very important. Most importantly, your photos should be of something you really want to paint! We’ll be copying a piece by George Inness. You can use the one that I’ve provided or find another online. For the final assignment, which will be a far more finished painting rather than a study, you’ll need a reference photo of something you’d really like to paint that has dynamic examples of light and shadow. Although I think it’s best to use your own photos, I’ll be providing many resources and reference photos for you, both as PDFs and in a Google Drive folder that you will have access to throughout the workshop! If you have any questions, just contact support and we will get back to you!

BOOKS

Color and Light by James GurneyAvailable from Barnes and Noblefrom $14.95

Color A Workshop for Artists and Designers by David HornungAvailable from Amazon from $14.95

USING THIS WORKSHOPI explicitly organized all of these videos in a systematic and orderly way so you can achieve the maximum benefit in your paintings. This is where the magic happens…a robust masterly understanding of form in relation to the key con-cepts of light and shadow and how they affect composition will provide you with the necessary tools to create art with a timeless aesthetic and universal appeal!

• Watch the Introduction• Watch the 4 Study Videos• Watch each Assignment Video• Complete each Assignment• Complete an Individualized

Piece from each Assignment

WATCH THE INTRODUCTIONI’ve interlaced the work of old masters and mod-ern masters, to show how the principles of light and form have a long tradition in art and are just as relevant today as they were in the past. Take your time and enjoy the paintings. I’ve included pieces that showcase a wide variety of styles yet all of them employ the same prin-ciples of light and shadow. I hope they’ll inspire you to search for ways to capture the magic of light.

WATCH THE 4 STUDY VIDEOSWatch the assignment videos. I recommend skimming through them once and then prepare your supplies to do a “follow along” version of the piece presented. Copying the work of artists whose work you admire is a time-honored tra-dition amongst art students and teachers. Don’t feel awkward about it! You have my permission!

WATCH EACH ASSIGNMENT VIDEOWatch the assignment videos. I recommend skimming through them once and then prepare your supplies to do a “follow along” version of the piece presented.

Copying the work of artists whose work you admire is a time-honored tradition amongst art students and teachers. Don’t feel awkward about it! You have my permission!

Watch the way I hold the sticks, the pressure I use, the scale of the marks and the speed with which I put the material down. Push yourself to keep up, but you can always pause the video when you need to.

COMPLETE EACH ASSIGNMENT

READINGI’ve suggested two books as supplemental read-ing. They will enhance your understanding of our study! Feel free to study these books throughout the workshop.

COMPLETE THE INIVIDUALIZEDASSIGNMENTS

After you’ve completed the watch and paint as-signments, use your own source material, either plein air or a photo reference, to complete new versions of the assignments. This is your oppor-tunity to sing to your own tune! Use the princi-ples presented and go through the same steps, planning to finishing.

USE THE RESOURCESI’ve provided a number of useful resources including handouts and alternative reference materials that you can use if you don’t have your own that are appropriate. You can access these via the link provided.

SELF CRITIQUEHow do you know when you’re finished? Some-times it’s very obvious. Sometimes it’s an in-tuition. Sometimes you simply don’t know! A reference checklist is included on page 34 of this PDF. These guidelines will help you answer any questions that may arise when you’re stuck and will help you determine what is working and what needs improvement.

SHARE WITH YOUR PEERS!When you’ve finished an assignment, go ahead and upload it to the website! It’s a wonderful way to get feedback, validation and just enjoy interacting with other artists with a passion for pastels. You’ll find an environment of kind and thoughtful discussion and friendly encourage-ment.

FORM PRINCIPLE

STUDY1

Our first order of business when studying light and shadow is to understand the form principle. When light strikes a solid object, it creates and orderly and predictable series of tones. Learn-ing to identify these tones and place them in the proper relationship is the key to achieving a convincing depiction of form in a painting or drawing.

To create dimension in your forms, visualize and break them up into planes. The planes on the light side are said to be the properties of light and they include the halftone and highlights. The planes on the shadow side are said to be the properties of shadow and include the form shadow (residing on the object), cast shadow (falling on another surface or another object), reflected lights and the accent, sometimes called the occlusion shadow. To make forms in your paintings look three dimensional, exaggerate the planes and push the contrast between light and shadow.

Painting these properties or tones accurately is the key to a convincing three-dimensional illu-sion. We see an object in space as three dimen-sional when the planes or surfaces of the object are either facing the light or turning away from the light and in shadow. If light is shining on a face from the right, then shadows are formed on the left or in areas where the light is blocked. If we get the shadows too light or too dark, then it changes the appearance of the surface, making it look less convincing.

COREHIGHLIGHT

CAST SHADOW

PROPERTIES OF LIGHT

STUDY2

ColorEvery light source has its own color and there-fore color temperature. Every object has its own local color but is pervaded by whatever light is present. Warm light will intensify warm objects and neutralize cool objects. Cool light will inten-sify cool objects and neutralize warm ones. Use a color isolator (a white or grey card with a hole punched in it), to examine a white object. The color isolator helps us to see the color of light without prejudice on a white object.

Direction The location of the light source relative to the el-ements in your piece affects which parts of your piece are in light and which are in shadow. Posi-tioning your light source to one side or the other allows the forms and planes to be more obvious. Backlighting can create a rim that helps to define translucent objects. Lighting from below can create dramatic and even eerie affects. Top light-ing can lend luminosity to shadows by bounc-ing a lot of reflected light into them. Standing outdoors with your back directly facing the sun can result in a flattening of the forms making it harder to distinguish between foliage masses by creating broad areas of light and minimizing shadows. Positioning your light source to one side or the other allows the forms and planes to be more obvious.

StrengthWhen an object is lit with strong light that is close to the form it will create strong value contrast between the lights and the darks and therefore more sharply defined edges in the cast shadows. When an object is lit with diffuse light it will weaken the contrast between light and shadow producing softer edges in the cast shadows. When you’re painting outdoors there are many types of lighting situations; overcast days, hazy days, bright sunny days and lots of variations in between. No matter what quality or strength of light is present, the form principle will hold true for all of them.

Study

It’s important to identify the light source for consistency in light and shadow patterns within your piece. The follow-ing examples of light falling on houses and trees illustrate how different lighting directions cast shadows. Compare these examples to one another to gain a better understanding of light and shadow.

Understanding Light Sources

Light Coming From Behind the ViewerThe light source is behind the viewer looking towards the subject resulting in multiple surfaces being illumi-nated.

Light Coming Towards the ViewerWhen the subject is between the viewer and the light source, you have backlighting which can be the most dramatic and results in the most contrast.

Cast Shadows Moving Towards ViewrBoth Surfaces Illuminated

Study

Studying lighting at various times of day and even in different seasons will inform your painting practice. Some artists specialize in particular lighting situations, preferring dramatic lighting such as backlighting. Many plein air painters opt for soft diffuse lighting.

Understanding Light Sources (cont.)

Light Perpendicular to the ViewerWhen the light is perpendicular to the viewer, one surface is strongly lit and others are in strong shadow. Notice the long cast shadows.

One Surface Illuminated

Diffused LightOvercast days produce the diffused lighting condi-tions that many artists prefer to work under. The soft shadows and lampshade-like lighting creates a subtle soft effect and is more stable to paint in outdoors for a longer period of time versus fast changing cast shadows.

Soft Shadows

Color In Shadow

STUDY3

An important part of depicting light and shadow in a convincing way is to be able to paint the local color of an object that is partly in shadow and partly in light. It’s fairly simple to interpret the value (lightness or darkness) of colors when they are entirely in light, but if we place them partly in shadow and partly in light, it gets a bit trickier. Placing a value scale on the portion in light and then comparing that when we place one on the portion in shadow can help us to see things more accurately.

Now let’s take a look at this little rubber duck. What happens to the value of the green in the shadow and how can we accurately match it? If we isolate a portion of the duck that is in the light then compare that to the portion in the shadow we can make a determination of how to shift the value and intensity of the green. Remember local color should never completely lose its identity in shadow. No color in shadow can have brighter color intensity than the same color would have in light. All colors at their greatest intensity or tints of pure color should be represented to the lights and halftones. When reaching shadow these colors are reduced or greyed. Remember that intensity refers to the brightness or dullness of a color NOT lightness or darkness!

If we place the grey isolating swatch on the por-tion of a coaster that is in the light then compare that to the portion in the shadow we can make a determination of how much we need to shift the values on it. Always compare values and inten-sity. Compare, compare, compare. Look for the lightest thing in the light and compare it with the darkest thing that is also in the light. Then look for the lightest thing in the shadow and compare it with the darkest dark of the shadow

Value Patterns

STUDY4

The first step in creating strong compositions with light and shadow is to start seeing your subject as a simplified pattern of lights and darks. Instead of thinking of your subject as a group of things that can be named such as a tree or a house, try to begin thinking of your subject as a grouping of elements that have a particular shape and a particular value.

Squint to see shapes of similar value for a pow-erful design, connecting the small shapes togeth-er. All the small bits and pieces are distracting, so eliminate and consolidate shapes for simplicity. Once you’ve simplified, use black and white to make a pattern of shapes; think about what is in light and what is in shadow. Although the human eye can see an almost infinite range of values with subtle distinctions, you only need to use a few contrasting values. Most subjects can be reduced to three or four values.

Once you start thinking of your subject as a pat-tern of value masses you can easily see if you’ve created an effective composition. Varying the proportional amount of area occupied by each value, you’ll naturally create an area of interest. The smallest shape becomes the focal point when it is juxtaposed with a larger area that it is in contrast to. You’ll be creating artistic inequali-ty by having a dominant value mass. The largest shape sets the key for your painting; high key is light in value (snow scene), low key is dark in value (a nocturne).

While holding onto the strong overarching value pattern, develop a more fleshed out thumbnail that reflects more nuanced tonal values. If you feel your piece lacks impact or is boring, head back to these value patterns to see if it isn’t the division of space that is responsible. It’s import-ant to train your eye to see the elements in your subject in these simple terms whether from a reference photo or from life.

A Sunlit Path

ASSIGNMENT1

This classic composition of an arched pathway with dappled light is a theme that is extremely attractive. There is a familiarity and sense of place that suggests a simpler, slower time. Most photos will get the shadows too dark. If we try to paint them the same as in a photo they won’t be luminous and will tend to look muddy. When painting dappled light, it’s good to remember if strong cast shadows are present it’s because the sun is out, and the sky is usually blue therefore we are getting a mix of sunlight and skylight (warm light and cooler skylight). This makes a great case for lavender cast shad-ows! Pay close attention to the values in shadow and the values in light and how they differ. Com-pare, compare, compare.

STEP 1- DRAWING Sketch in your composition lightly with a blue spruce Nupastel. It’s a simple composition but it’s important to place the horizon correctly…it’s lower than I thought at first. Spend as much time as you need here. If it helps to do a thumbnail, take the time and do it.

STEP 2 - BLOCKING IN Block in the major shapes with the approximate values that you see. Work from the large shapes that make up the design, to the smaller shapes. Try to work the whole piece rather than starting to “finish” an area. If you get stuck in one spot, try to move onto another. Stay as thin as you can for as long as you can!

STEP 3 - ADDING ON Now is the time to add some nuance and dynam-ics to your piece. Use a variety of color in each value mass to get a more painterly feel. Play with your mark making. Your unique mark making vocabulary is what will set your work apart from other artists as you develop your own style.

STEP 4 - FINISHING

Slow down and make final adjustments and as-sessments. Resolve any issues you have with the drawing such as shapes that are “unintended eye magnets” or value relationships that are not accurate. Make sure that your sky holes are not too

pattern-like. Are they too similar in size and shape? In nature they would be varied. Make sure that you’ve paid attention to every bit of your piece. This doesn’t mean that you’ve given equal emphasis to every-thing, just that you’ve attended to all the elements.

Garden Plein Air

ASSIGNMENT2

Plein air painting can be daunting so I highly recommend trying it out in a location that is con-venient and feels comfortable. For me, my back yard is the perfect place! Set up your easel so that your painting surface and your pastels are in the same lighting situ-ation. In other words, don’t have the paper in shadow and sunlight on the pastels. Keep them the same. This will make choosing value and col-or much, much easier. Go through all the steps to create your piece using all the tools that you have at your disposal. A viewfinder is a must in plein air painting!

STEP 1 - DRAWING Sketch in your composition lightly with a blue spruce Nupastel. I marked off my paper in quad-rants to help in getting the drawing accurate.

STEP 2 - BLOCKING IN

Block in the major shapes with the approximate values that you see. Work from the large shapes that make up the design, to the smaller shapes. Try to work the whole piece rather than starting to “finish” an area.

STEP 3 - ADDING ON Now is the time to add some nuance and dy-namics to your piece. Use a variety of color in each value mass to get a more painterly feel. Re-member to use colors with a variety of intensi-ties and hues within each value mass. I punched up the value of the foreground foliage and the lights on the chair.

Summer Days9x12 Pastelmat

STEP 4 - FINISHING Slow down and make final adjustments and assessments.

Interior Light

ASSIGNMENT3

This piece is a study of my oldest son, Kevin when he was about 13 years old. He loved read-ing. Some of my fondest memories of when he was growing up were sitting in our family room on a weekend morning and just quietly hanging out reading, looking at comics. I caught him one morning with the light spilling in around him cre-ating a lovely angelic halo. He is a sweet kiddo, so it's quite appropriate! I like this depiction of him as it captures his es-sence well, although it is not a traditional por-trait pose. His gesture and posture alone make him recognizable and of course the light is what makes this simple composition so compelling. The watercolor under-painting is a structure that underlies the piece and allows for a more playful application of the pastel. The pastel is kept to a minimum purposefully letting the watercolor play its part.

Kevin9x12 Wallis Sanded Paper

MasterworkGeorge Inness

ASSIGNMENT4

STEP 1 - DRAWING + BLOCKING INUse the sanded paper of your choice. I’m using Leaf Green Colorfix, but a nice dark blue or bur-gundy might be good too! I marked off a frame that is the same proportion of the reproduction and then marked the center points to help me with the drawing. With my Blue Spruce Nupastel (big surprise), I first sketched the large shapes including some elements of value.

STEP 2 - ADDING ONInness painted in oils, so inherently ours is going to be somewhat different, but I am going to try to emulate some of his brush work. He em-ployed quite a bit of glazing and we can do the same with pastel; thin layers of color.

STEP 3- FINISHINGMake any final adjustments in value. I’ll punch up the intensity at the horizon. Don’t be afraid to do this!

in order to capture the complete essence of a locale. A master of light, color, and shadow, he became noted for creating highly ordered and complex scenes that often juxtaposed hazy or blurred elements with sharp and refined details to evoke an interweaving of both the physical and the spiritual nature of experience. In In-ness’s words, he attempted through his art to demonstrate the “reality of the unseen” and to connect the “visible upon the invisible.”

Within his own lifetime, art critics hailed Inness as one of America’s greatest artists. Often called “the father of American landscape painting,” Inness is best known for his mature works that not only exemplified the Tonalist movement but also displayed an original and uniquely American style.

One of the most influential American artists of the nineteenth century, Inness was influenced, in turn, by the Old Masters, the Hudson River school, the Barbizon school, and, finally, the theology of Emanuel Swedenborg, whose spir-itualism found vivid expression in the work of Inness’s maturity (1879–1894).

Although Inness’s style evolved through distinct stages over a prolific career that spanned more than forty years and 1,000 paintings, his works consistently earned acclaim for their powerful, coordinated efforts to elicit depth of mood, at-mosphere, and emotion. Neither pure realist nor impressionist, Inness was a transitional figure who intended for his works to combine both the earthly and the ethereal

George InnessSunset Glow

Capstone

ASSIGNMENT5

I hope you enjoyed my most in depth and advanced workshop to date, Light & Shadow. I purposefully arranged the videos in such a way to maximize your understanding of this compli-cated subject.

We started with the basics of form, a fundamen-tal component of drawing and painting which shouldn’t be overlooked. As artists, it’s import-ant to review and revisit these fundamental concepts over and over.

That will open the door to the more nuanced and subtle elements of advanced painting, like the direction and strength of light. What time of day is it? What season? What are the color dynamics in light and in shadow and of course how is your composition impacted by light and shadow?

I explicitly organized all of these videos in a sys-tematic and orderly way so you can achieve the maximum benefit and learning in your paint-ings. This is where the magic happens…a robust masterly understanding of form in relation to the key concepts of light and shadow and how they affect composition will provide you with the necessary tools to create art with a timeless aesthetic and appeal!

I principally used pastels for this workshop, though these fundamentals absolutely apply to any visual medium!

GALLERYOF

WORK

Paintings don’t paint themselves. We have to paint often so skill and serendipity can meet. Painting can be a magical and sometimes para-doxical process. This suits me fine as I find the world more interesting this way. But because of this we don’t always get to go out into the studio and find the muse waiting for us, we have to work to find it and do that time and time again. As a painter I don’t want to have a home run just now and again, I want to be consistent. In order to be consistent, I have to have faith in the process. Even if you don’t trust yourself, maybe you feel insecure or somehow not good enough, you can in trust the process!

The simple joy of seeing and letting a dance between realism and imagination unfold is what continues to excite me as a painter. I don’t think I’ll ever tire of the magic that can happen at the easel!

“Think of the methodas a fine silvery stream, trickling here, mean-dering there. Follow it. Never let it out of your sight. It will find you.”

-Shen Yeng

Dancing with Green 15 x 25 Wallis sanded paper

This piece has an under-painting done with fluid acrylics. I like using the fluid acrylics because they are thin and very chromatic making for a dynamic and loose start!

South of Home 15 x 15 Wallis sanded paper

This piece is a play on neutrals in the foreground and more intensity in the distance.

Still 12 x 12 Wallis sanded paper

Sunday Walk 12 x 12 Wallis sanded paper

Silence & Sunset 9 x22 Wallis sanded paper

River Path 12 x12 Wallis sanded paper

Ginos16 x 20 Wallis sanded paper

Closing Time 9 x12 Wallis sanded paper

It has a watercolor under-painting that I think worked out very nicely in this case. I tried to let some of the watercolor peek through the pastel especially in the background and around the edges!

Dinner with Mick12x9 Wallis sanded paper

This painting has a painting within the paint-ing! The ketsup bottle and the martini glass make a strong focal point and create a still life all it’s own!

Waiting for You 9 x12 Wallis sanded paper

It has a watercolor under-painting that I think worked out very nicely in this case. I tried to let some of the watercolor peek through the pastel especially in the background and around the edges!

THE BIG QUESTIONSWere you the director? Or did the piece direct

you?

Does your piece do what you intended?

How do you know when you’re finished? Some-times it’s very obvious and Sometimes it’s intu-ition. Sometimes you simply don’t know! Here are some guidelines to help you determine when you’re finished.

VIEWER CLARITY• What leads the viewer’s eye?• Does my piece have an area of interest? A

focal point?• Do I have a definite foreground, middle

ground and background?• Are there a variety of masses of unequal

sizes?

RHYTHM & MOVEMENT• Is the arrangement dynamic or static?• Are all the elements and shapes designed

well or are some awkward?• Do the elements have a gesture?

TEXTURE• Does my piece have interesting texture?• Is it cohesive or is one part too different?• Do my marks support the subject or detract?

EDGES• Are all my edges the same? Hard vs. soft?• What is happening where one form meets

another?• Is there a vibration of color on my edges?

UNRESOLVED AREAS• Are there areas that have issues?• Tangencies, technical mistakes or inaccura-

cies in my drawing?• What doesn’t belong or seem to fit?• Do some areas feel as though they are paint-

ed differently?• Is there a common thread throughout my

piece?

DOES IT LOOK DONE?• Very simply, does it look done?• Does it have the right amount of “polish”?• Does it look too slick?• Does it look too messy?

FINISHING OPTIONS• Throw it away! Yes, I do it!• Sign it, call it good and frame it up!• Leave it alone and readdress it later with

fresh eyes.• Put it where you can catch a glimpse of it.• Photograph it and assess the photo version.• Put it away so you don’t have to look at it

constantly. • Compare it to other pieces.• Completely re-work it into an entirely new

piece.

WHAT’S WORKING?WHAT NEEDS RESOLVING?

IS IT FINISHED?

CRITIQUE

COMMUNITY SHARINGPEER SHARING + COMMENTING MARLA’S COMMENTSWhen you’ve finished an assignment, go ahead and upload it to the website! It’s a wonderful way to get feedback, validation and just enjoy interacting with other artists with a passion for pastels. You’ll find an environment of kind, thoughtful discussion and encouragement.

Please limit your submissions to work based on the assignments, but feel free to share your reference source and any work you feel relates closely to the workshop. Just use your judge-ment! Have fun!

I comment on as many submissions as possible. I definitely see every submission and get super excited to see what you do and I’m very honored that you spend your time with the materials that I’ve created for you!

ONE-ON-ONE CRITIQUE WITH MARLAIf you are feeling stuck, you can always schedule a one-on-one critique. Just contact support for pricing.

1 BOOKS

2

3Carlson’s Guide to Landscape Painting by John F. CarlsonCreative Illustration by Andrew Loomis How I Paint - Secrets of a Sunday Painter by Thomas BuechnerThe Pastel Book by Bill CreevyPainting the Landscape in Pastel by Albert Handell and Anita Louise WestWolf Kahn Pastels Harry N. Abrams Inc.Alla Prima everything I know About Painting by Richard SchmidInventing the Landscape by Richard CrozierLandscape Painting by Mitchell AlbalaPastel Pointers by Richard McKinley

MY FAVORITE PASTELS

R E S O U R C E S

LINKS & BLOGS

©Marla Baggetta 2019 all rights reserved

Terry Ludwig Pastels – wonderful darks and greensMount Vision Pastels - great colors, large sticks, under-rated!Giraults - superb for glazing effectsUnison – the foundation of my palette right now

James Gurney - www.gurneyjourney.blogspot.comEmpty Easel - www.emptyeasel.comBlurb - self-published books - www.blurb.comPastel Pointers Blog - www.pastelpointersblog.artistsnetwork.comDaily PaintWorks - www.dailypaintworks.com – selling and viewing artQuiller Color Wheel - www.quillergallery.comRealColorWheel - www.realcolorwheel.com