I’ve always loved trees and that love has grown over the years. So it makes sense that I’m drawn to and fascinated by artwork of trees. Susan Story is an artist who focuses on these magnificent beings. Her work weaves together the intricacies of leaves and bark, branches and tendrils, and reveals the chaos that resolves into a kind of order in her art. I wanted to understand more deeply her relationship with trees and how she transfers that connection to pastel and paper.
So I was delighted when Susan agreed to create a guest blog for HowToPastel!
Don’t know Susan’s work? Have a look at this! (I wrote about this pastel painting in one of my roundups – click here to read it.)
Susan Story Bio
A designated Master Pastelist of the Pastel Society of America, Susan M Story has been an artist all of her life. She grew up in an artistic family in the New York City suburbs and attended Parsons School of Design for Fashion Design. After moving to upstate New York with her family, she turned to creating contemporary fine art. Susan has exhibited internationally, has won many awards, serves on the PSA Board of Governors, and is a juried member of the Salmagundi Club in NYC, the Academic Artist’s Association, Audubon Artists, Hudson River Valley Art Association, and the Catherine Lorillard Wolf Club. Susan was featured in the 2019 book Pure Pastel. You can read more about Susan Story on her website.
And now, here’s Susan Story to tell her story!
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I am so excited and honored to be Gail’s guest blogger to kick off the New Year! My fingers are crossed that it will be a better year for all of us and it is my hope that something in my blog post will inspire you.
I graduated from the Parsons School of Design where the intense and focused curriculum of color, design, shape, textures, balance, along with a strong foundation in drawing, prepared me for the discipline required to have a successful fine art studio practice. Coming from a family of artists, I left behind a career in fashion to pursue my passion for landscape painting.
My father, Stanley Maltzman PSA, HFH, is an artist and writer and is well noted for his fine draftsmanship of trees. He nurtured my creativity with many trips to museums in New York City and plein air outings, as well as bringing home different art materials that piqued my imagination. Whether watching my father in his studio, en plein air, or teaching a workshop, I was always present, looking over my dad’s shoulder, soaking it all in like a sponge. I will never forget the impression (no pun intended) left on me from seeing Degas and Redon pastel paintings in the permanent collection of the Guggenheim Museum. Who could resist the colors and fresh markmaking; it was love at first sight of the pastel medium.
My work has also been influenced by my dear recently-passed friend Bill Creevy PSA-MP, HFH. He taught me to think out of the box and to not be afraid to try anything when creating art. He even found a way to use pastel on Yupo paper, a slick surfaced polypropylene support! Although I admired the “Mix Master,” I also appreciated many of his drawings because of his expressive markmaking, spiraling, scribbling, and hatched techniques. His book, Pastel Book; Materials and Techniques for Today’s Artist, is one of my pastel bibles. My dad kept Bill’s book a secret from me until my work had reached a certain level of proficiency. He finally rewarded me with a copy of the book as if it was a graduation present.
Over time I learned to observe the graceful beauty and individuality of trees. Each tree, very much as each person, is unique. When riding in a car, passing woods and thickets, I always see the trees as dancers performing along my trip. The trees sway in the wind with their limbs, branches, and twigs expressively reaching out to me. Note the nodes from the trees that annually grow and stretch, reaching, bending, and curving like our limbs and fingers.
As a child I was constantly drawing and coloring. I was also studying ballet, which is a bit of insight to my connection between trees and dancers. Seriously, can’t you now see an apple tree in bloom as a ballerina dancing in a tutu? Although I started as most do with lollipop trees, with practice, patience, and maturity, I grew with the trees.
We all start out thinking trees are vertical stick-like forms, but there is so much more to see. Trees, like people, depend on each other for a healthy existence. They are interconnected. The way they grow and flourish is affected by their environment. Just like you and me, they will turn away from the wind and wilt without water and light. You will observe scars from diseases and predators often producing beautifully grained wood.
When I started to explore pastel 35+ years ago, I began, as many do, working with Canson Mi-Teintes paper and with a set of Rembrandt pastels that my father gave to me. It didn’t take long to realize the limitations of one paper and one brand of pastel. I expanded my paper collection to include Ersta sanded paper and even used sandpaper from the hardware store. Eventually more commercial sanded papers were available, for instance, La Carte by Sennelier and the much sought-after Wallis. I later moved to working on 100-percent cotton rag matboard.
My reason for this switch to matboard started out as an economical choice. I had many scraps around the studio from framing and the board holds an amazing amount of pastel, I wasn’t limited to standard sizing, and it was easier to frame because I didn’t have to worry about dry mounting the paper. Nowadays, there are many brands of sanded papers available, some already mounted to a hard surface. And discovering Terry Ludwig, Great American, and also Sennelier’s Giant pastels opened a whole new world of possibilities to my artistic expression.
As my work evolved, I once again changed my surface to more traditional papers typically used for various other media, handmade when possible. My work has become more textural and I find the different surfaces of the papers add to my desired outcome. Sometimes I will add pastel ground if I think the paper may not hold the pastel layers or if I really want to control the texture. One needs to be thoughtful about how thickly to apply a ground to paper; it can limit your control of the pastel application. I prefer a rough texture, less detail, and happy accidents. If you prefer control and detail, I do not recommend trying to work this way.
My work can best be described as a contemporary interpretation of the landscape. It’s a reflection of my experience observing and being present with the subject. In addition to the irresistible range of pastel colors, I love the immediacy and intimacy of the medium. I use color to create mood and manipulate the medium to create thinly layered veils of color. By building up impasto textures, pastel allows me to create depth, atmosphere, and perspective.
I am not always interested in creating a “pretty picture.” I am not interested in replicating what the eye sees. I’m interested instead in extracting emotions and encouraging personal connection. Many layers of broken color build the images and set the stage for each visual story. I aim to intrigue the viewer while allowing them to create their own narrative.
I usually begin my work with a notan sketch to work out my composition followed by some color tests to confirm my underpainting colors and approach.
Underpainting has become one of my favorite ways to start a painting. Here again, I don’t have a set rule. Rules are made to be broken anyway! If you are creating art, it is your own expression. I can control the effect I intend, by either considering the dominant color I see or the color and temperature of the light while at the same time, considering negative space, movement, and flow. I can also celebrate the happy accidents of splatters and drips.
I tend to paint a subject in late afternoon light so I often choose to tone the paper overall or paint a value underpainting in the color of the light. I love to have the unifying color peep through the layers of pastel helping to create a vibration.
Have a look at my demo below:
I initially draw in the gestural lines of my subject. You need to really look and study the tree. Is it standing perfectly upright and straight? Most likely not. Catching that movement is what shows the trees’ uniqueness and brings its spirit alive. It makes the image so much more interesting.
I almost always start sketching my trees from the top down to ensure that the size and proportion will fit on the page appropriately. If I start from the bottom I inevitably run out of space for the top portion of the tree, or it will be too thick or thin in the girth.
I also like to draw and paint in the main sections of a tree’s skeleton, even if most of it will be covered with foliage. As I proceed to work adding the layers of pastel, the previous marks give the image depth.
It is also important to me to closely observe the colors and textures in the bark. Maybe there are holes from insects, birds, or animals, or gnarls from diseases, broken limbs, or other notes of interest that tell us something about this tree’s life. I don’t only see grey or brown bark. There are usually warm and cool tones that allow me to push the color to endless possibilities. Remember you can use any color if you have the value and temperature correct! Why not a blue tree? It isn’t necessarily my intent to paint a blue tree; it is often just what the painting tells me to do as I work.
I was recently awarded an Individual Artist Grant for my project, “Around the Apple Tree.” I am currently in the process of painting a twelve-foot high tree combining all four seasons. This project is made possible with funds from the Decentralization Program, a regrant program of the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and is administered by The Arts Center of the Capital Region.
I had to settle for twelve by twelve feet for practical reasons. Recording the subtle and obvious changes a tree goes through in its annual cycle has been a wonderful lesson. Unfortunately, it would be very difficult to protect a pastel in this size so I have resorted to using acrylic and oil paints for the project. I have created many of my studies with pastel.
Staying focused on what is unique about the subject or moment is essential to my work. Sharing my vision is a never-ending journey of solving problems, experimenting, and making new discoveries along the way.
I hope this helps you see trees in a new light!
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I don’t know about you but spending time with Susan’s trees, I feel as if I’ve been in close conversation with them. This deepens my own experience of trees in the natural world. Susan’s words and artwork remind me to be present to the spirit and glory of trees.
What about you? I’m sure Susan Story would love to hear what you think of her work and journey. Do you have any questions for her? Please do leave them below.
And that’s it for January! See you next month 🙂
~ Gail
42 thoughts on “Susan Story – Painting the Spirit of Trees”
Every single one of Susans trees has a personality. I love her sensitivity to the effects of the elements and aging on them! Color and delicacy even in the gnarled giants! Inspires me to experiment with adding ground to a surface! Thank you for including Susan’s expert work in your blog Gail!
Oh my gosh you are so welcome Brenda. I can feel your enthusiasm and excitement around possibility bounding through your words!! I’m sure Susan will be pleased 😀
So beautiful and inspiring! I scrolled back thru all the images and almost every one was a totally different color theme….a rainbow of trees. Thankyou!
So glad you enjoyed it Therese! I love how you picked out the rainbow of colours in the scroll. So cool!!
Once again Gail you have given us an inspirational look into another artist’s work. Susan’s paintings are breathtaking. I particularly like the limited palette of “Heavy Snow”. It really is a gift that such brilliant artists are happy to share their thoughts and processes. Thank you.
Aidan, I love hearing this! Thank you 😀
And thank you for sharing a particular piece that resonated with you.
I took a workshop at Hudson River Valley with her father Stanley several years ago & Susan came each day to paint with us. Stanley is an amazing teacher and I still wear one of the green sketcher t- shirts when I paint. I hope he is well.
I love Susan’s work and where she has taken the medium with her own vision. While I have gravitated to portraits, I still spend much time looking carefully at trees & photograph them often because of that workshop with Stanley. I will return to trees soon.
I bought his lithograph of a pheasant and enjoy it daily.
Thank you so much for sharing her work!
Sally thank you so much for sharing your connection with Susan’s father Stanley. Interesting that his influence still plays out in the time you spend with trees inspite of your own artistic tendency towards portraiture. I’m sure Susan will love hearing this!
I love the way that Susan really seems to be telling each tree’s story. She’s saying so much about each one, looking at the works closely is almost like turning the pages and reading a bit more.
Ohhhh Gwen, what a lovely way of expressing a closer look at these paintings! Thank you!!
I love painting trees as well, expecially the ones I look at everyday in my backyard. Susan brings that to a whole new level. She really brings out the personalities and “wisdom” of these wonderful co-inhabitants of our planet. Thanks Gail for introducing Susan to us!
You are so welcome Ruth! I hope Susan’s paintings inspire you to deepen your own understanding and painting of trees
Good morning! I am absolutely, madly in love with trees. I “commune” with them when I need courage or just to chat!! I thank them for their presence and strength. I loved reading about Susan and was familiar with her wonderful work. I am always wanting to capture their essence and the feelings they invoke in me on paper, they are a little daunting as a subject! Thank you Gail for this great post.
Morning Susan! I do exactly what you do with trees – commune with them for all the same reasons. They are mighty beings! Thank you for your enthusiastic response!!
(By any chance do you do shamanic journeying? If not feel free to email me about it!)
So often, we think of trees as the handmaidens to the real focus of a landscape, instead of the primary focus. Your passion for the bark, and shape, and dance of a tree is inspiring. We have several ancient huge black willows and cottonwoods around the few ditches and bogs in Colorado. It’s time to take another look. Many thanks.
Love that you brought this up Andi, about trees often used in supporting roles in the tableaux of landscape. I’ll look forward to seeing the expressions of your closer look at your local trees!
These paintings are awesome and will inspire me in my attempts to capture the beauty of trees.
Eddie I’m delighted you think so and look forward to hearing about your own explorations into painting the beauty of trees.
As an amateur pastelist I too am drawn to trees and Susan’s sharing of her work and process is very inspiring. Her use of color and texture to create a mood has encouraged me to think more boldly in my approach to painting trees in my landscapes and as primary subjects. Thanks to both of you for sharing.
Linda, how much do I love hearing that you have been inspired to be more bold in painting your trees in a landscape? A huge amount!! Yay!!
Wow. Susan’s paintings and her description of her own process are so informative and inspiring! Plus I love the fact that she isn’t all caught up in photo-quality realism; I love her interpretations and especially her color palettes. She also has inspired me to try out different types of papers and grounds….they DO all react differently and affect the finished artwork in so many ways — sometimes good, sometimes not so much, but all are learning experiences. Thanks, Gail, for having her as our guest blogger — I learn so much from your blog offerings, exposing me to artists I may not be as familiar with!
Paula thanks for your enthusiastic appreciation and your takeaways from Susan’s guest post! It’s always good to be exposed to other possibilities of working as it’s easy to get into a rut in our own practice (guilty! 🙋♀️ ).
Wow! It seems like you could actually feel the texture of the bark on Susan’s trees. Just beautiful. Anne
Anne, you are so right! And I bet in person, when you can clearly see the texture in three dimensions, that effect of texture would be magnified!!
I am fortunate to know Susan casually and admire her work. There is so much expression in each of her drawings. I found it very interesting to learn her different techniques with preparing papers etc. She is a treasure.
Anne you are so right about Susan being a treasure! I’m glad to know that you deepened your knowledge of Susan’s process.
Susan has changed my world of painting by sharing her intimate relationship with trees and nature. I look at all of nature and the personality of trees and flora with a newness and a visual microscope, because of her articulate interpretation of how deep and immense the possibilities are to interpret what you personally see and feel when creating. I am one of the lucky ones to have studied under the best of the best being not only Susan , but before her, her Dad Stanley Maltzman. I am extremely grateful, and I cherish their words of wisdom and experience. I always hear their advice in my mind when I work and try to utilize what they have taught me. Susan, your blog has taught me more, and I thank you for your inspiration to embrace the beauty and light that is forever present. My appreciation and adimiration to you always, for touching my life with your outstanding art.
Thank you Jane for your beautifully expressed appreciation of Susan’s work as well as your learnings from Susan’s dad Stanley and Susan herself.
I echo what everybody else has said; love trees and especially loved looking at every one of her trees. Beautiful homage to Trees! I also liked her tips about her process such as, “…almost always start sketching my trees from the top down.”
Yay Marsha!!
And interesting tip you picked out. It’s fascinating because I worry that I won’t fit the bottom of a tree in so I usually start there 😀 Susan’s words made me think about the whole process differently…and that’s always a good thing!
Gail:
I love your blogs and bios.
The take away for me is that one paints what they really know and what their eyes tell them, of course with a little enhancement here and there.
Stanley Rodak
Sarasota
Stanley, I am so very glad to hear it…and thank you for taking the time to say so and to comment. Love that you added your own takeaway too 😀
What a fantastic article–I so enjoyed reading this and being inspired by Susan’s gorgeous work. Thank you Gail for featuring her and Thanks to Susan for her lovely, expressive writing. Her work and this piece show how diving deep into a subject provides endless, rich content and creates masterworks.
Thanks so much for your comment Jeanne! And it’s true, as you yourself model, diving into a particular subject yields riches!!
I’ve been a big fan of Susan’s for many years as I share the same enthusiasm for trees. Unfortunately, I have a small garden and no room for trees until I discovered bonsai and now have many dotted around the garden. Some are nearing 40 years old and were grown from seed and yet are only 12 inches tall. Many of our walks, during this past year of restrictions, have been taken through the many woods and glens that are within a 10 minute walk from home, giving, not only visual inspiration but also mental stimulation. So, trees are and continue to be, a large part of my life. Where would we be without trees, I ask?
Where indeed John?? So good to find another tree lover and appreciator. How amazing about your bonsai versions. It’s too bad comments don’t make photos attachable. I know we’d all love to see them, well at least, I would!!
Such moving paintings – it reminded me of “The Secret Life of Trees”. Your love of trees shines through every one. Thanks for sharing!
Lori YES! I too was reminded of that book. The Secret Life of Trees is a magical marvellous look at these magnificent wonders!! And Susan’s trees do show her own love of trees 😀
Wonderful article Gail.Thankyou so much for sharing Susan’s fab work on trees there was so much to be gained for a tree and pastel artist.
Good luck with your Tasmania trip ,I do hope it works out for you.Its a special place.
Gwendolin Lewis.
Newcastle NSW
Australia.
So glad you enjoyed Susan’s guest post Gwendolin!
And thanks for your good wishes for the Tasmania holiday painting workshop. Now I REALLY can’t wait!!
I always enjoy these blogs, they’re a great way to meet artists, and learn. I find it just wonderful to hear that Susan is Stanley Maltzman’s daughter. I first discovered his work when reading the howtopastel blog by guest artist Maureen Spinale. How ironic that his two books, Drawing Trees, and Drawing Nature, should arrive the very week I discover Susan’s art. Thanks to Susan and Gail for this wonderful education in using pastels to draw trees, a real passion of mine. Many thanks and all the best to you both.
Mary, oh my word!! What wonderful synchronicities!! Thank you so much for sharing how the universe works miraculously and mysteriously!!