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Richard McKinley, "Morning Majestic," 2016, pastel, 12 x 16 in. Going back to paint in familiar locations is one of my favorite things to do. They become old friends and I get to pick up my visual conversation with them where we left off.

Richard McKinley – The Journey Never Ends

Ohhhhhhh I am sooooooo excited. I have a very special (yes, very!) guest for you. This is an artist I have admired for years. I know many of you feel the same way about this pastel (and oil) artist. It is my privilege to welcome Richard McKinley to the HowToPastel blog.  I am thrilled he said yes to my invitation to guest post. (And you’ll find something exciting at the bottom of the post!) 

In case, you have never seen any of Richard’s work, here’s a teaser. (I wrote about this piece in one of my round-ups which you can read by clicking here.)

Richard McKinley, "Dance Before Winter," 2016, pastel, 12 x 9 in. I especially enjoy taking a section of trees out on location and just playing with the elements of design.
Richard McKinley, “Dance Before Winter,” 2016, pastel, 12 x 9 in. I especially enjoy taking a section of trees out on location and just playing with the elements of design.

Before I hand the blog over to Richard McKinley, first, a wee bit about him.

Richard McKinley Bio

Richard G. McKinley, PSA-MP&HFP, PSWC-PL, has been a professional working artist / teacher for over 40 years. His work is represented in several national galleries and is in the permanent collection of the Butler Institute of American Art Museum (Ohio), City of Albuquerque (New Mexico), and the Hang Ming Shi Museum (China). He holds Master Pastelist designation with the Pastel Society of America and in 2010 was inducted into their Hall of Fame. In 2012, Richard was designated Pastel Laureate by the Pastel Society of the West Coast. He has been featured in seven instructional DVDs and included in numerous art books.    

An avid plein air landscape painter, Richard divides his time between painting the locations he is passionate about, reinterpreting those paintings back in the studio, writing about art matters, and instructing painting workshops.

Read and see more on his website.

And now, here’s the man himself, Richard McKinley!

*****

Richard McKinley, "The Cove," 2012, pastel, 16 x 16 in. Done in the studio from a pastel field painting I had not planned on leaving as much of the watercolor underpainting showing, but at a certain point the painting said, I’m done. Learning to listen to the painting is our hardest job.
Richard McKinley, “The Cove,” 2012, pastel, 16 x 16 in. Done in the studio from a pastel field painting I had not planned on leaving as much of the watercolor underpainting showing, but at a certain point the painting said, I’m done. Learning to listen to the painting is our hardest job.

My Beginnings With Pastel

My introduction to the medium of pastel was in 1974. As a young aspiring artist, I was fortunate to be introduced to an amazing artist, Margaret Stahl Moyer, who had studied at the Chicago Art Institute and agreed to critique my work once a week. After a few months of providing guidance on my oil paintings, she handed me a box of Grumbacher and Rembrandt pastels and said, “With what you have shown me as an oil painter, I think you should also give pastel a whirl.”

At the time, I was eager to explore every fine art medium and didn’t even think to ask her why. Like so many pastelists I’ve met, it was love at first application. Something about the tactile nature of holding what is very close to pure pigment in your hand and the limitless possibilities for creative exploration, clicked with me. Although I continue to occasionally play with other mediums, oil and pastel have been my main focus of expression.

Richard McKinley, "River Dance," 2013, pastel, 12 x 9 in. Focusing the viewer attention on where you want them to visual linger is the job of the painter. It is akin to the book editor, or orchestra conductor. Something creates contrast, stands out, and we go there. Take authority of the subject matter.
Richard McKinley, “River Dance,” 2013, pastel, 12 x 9 in. Focusing the viewer attention on where you want them to visual linger is the job of the painter. It is akin to the book editor, or orchestra conductor. Something creates contrast, stands out, and we go there. Take authority of the subject matter.

Pastels – Those Sticks of Magic

As more brands of pastel became available, not to mention surface choices, I found myself wanting them all. An automobile’s main purpose is to transport us from one point to another, but the experience of driving a Volkswagen Beetle compared to a Ferrari is very different.

At this stage in my pastel life, I don’t think about what I need, it is what I want. Currently, if I painted ten hours a day, every day, I couldn’t use all of the pastels I have amassed. What is thrilling, and comforting, is that they are there quietly waiting for me to take them for another artistic ride. The artist with the most when they die, wins, and I plan on winning. Yup, I am a pastel hoarder!

The Palette – The Magician’s Wand

The advantage of having worked in paint was extremely useful when it came time to setup a working pastel palette. After considerable trial and error, I ended up with a palette that visually represents the three components of light that we see: 

  • The full spectrum of color (represented by a color wheel)
  • A range of value associated to those hues (lighter and darker)
  • The chromatic variants of those hues and values (grayer tones)
Richard McKinley, his palette.
Richard McKinley, pastel palette.

Some of my pastel palettes are smaller, others larger, but all are arranged using this system. This has given me the ability to focus on what and how I am painting without the distraction of searching for a certain hue, value, or tone. Since a major amount of my time is spent painting with pastel on location (en plein air), I have tried to limit the size of my travel palette for ease of transport (note the photo of my plein air pastel palette). This palette, which is my mainstay, is filled with an assortment of brands, which denote various degrees of softness. 

An old oil painting mantra – Thin to Thick, Dark to Light, Dull to Bright, Soft to Sharp – influenced my choice to have more of the darker, grayer, pastels in my palette be composed of harder brands and the lighter, brighter pastels lean more towards the softer (buttery) brands.

ichard McKinley, "As the Fog Lifted," 2016, pastel, 9 x 12 in. When I arrived at the scene to paint a veil of fog was present. I knew it was fleeting, but it became the inspiration for the painting. Often the unplanned makes for the magic.
Richard McKinley, “As the Fog Lifted,” 2016, pastel, 9 x 12 in. When I arrived at the scene to paint a veil of fog was present. I knew it was fleeting, but it became the inspiration for the painting. Often the unplanned makes for the magic.

On What to Paint

Early on, every representational painter just wants what they do to be recognizable. We never forget the day someone knew what it was we were attempting to paint. Our focus is more on how to paint and what to paint versus whywe paint. It’s the mechanics. As our technical skills develop, we discover that our real goal is to not just paint a picture, but to paint a painting which represents the way we see and feel about the world around us.

Richard McKinley, Initial sketch for "We Three, "2018, pencil on white Pastel Premier paper, 16 x 12 in.
Richard McKinley, Initial sketch for “We Three, “2018, pencil on white Pastel Premier paper, 16 x 12 in.
Richard McKinley, "We Three," 2018, pastel, 16 x 12in. This painting was done as a demonstration for a workshop where the reference material was just that, a reference, and the finished painting ended up looking quite different. Being the dutiful slave to reference material can limit your creativity if not held in check. No one gets a prize for just getting it right.
Richard McKinley, “We Three,” 2018, pastel, 16 x 12in. This painting was done as a demonstration for a workshop where the reference material was just that, a reference, and the finished painting ended up looking quite different. Being the dutiful slave to reference material can limit your creativity if not held in check. No one gets a prize for just getting it right.

There are many beautiful landscapes, the world is filled with them, but a pivotal juncture in my work happened when I challenged myself to find the beauty in the mundane, to seek out those places that most people pass over, day after day, without ever pausing for a second glance. I remember going to a remote section of eastern Oregon, where most people drive as quickly as possible to just get beyond, and spending a week observing, sketching, and painting. 

This experience took my work from being a competent representation of something considered beautiful to finding and embracing the visual power of the tenants of design: Rhythm, Scale, Depth, Texture, Color, Value, Tone, etc. These are not identifiable objects, they are associated to them. The sand and brush that inhabited the area would be considered ugly by most passersby; it was the orchestration of the elements of design that made them art. 

Richard McKinley, "Morning on the Slough," 2016, pastel, 16 x 12 in. Beauty is in the eye of the beholder. I used to edit out most manmade objects, especially power poles, but now I see them as a fascinating visual element that will someday be historical memories.
Richard McKinley, “Morning on the Slough,” 2016, pastel, 16 x 12 in. Beauty is in the eye of the beholder. I used to edit out most manmade objects, especially power poles, but now I see them as a fascinating visual element that will someday be historical memories.

I am always amused when someone watching me paint stops and comments that they would have never considered painting that, or don’t see anything worthwhile about the subject, and yet, they love the painting. For me it is the reward of taking the prosaic and making it poetic. The simple rhythms of a field, the negative spaces of mysterious light peeking through a grove of trees, or the atmospheric effects across the surface of the earth have become more of my inspiration as I have matured as both a person and pastelist. 

Richard McKinley, "Notes of Turquoise," 2015, pastel, 12 x 16 in. These old irrigation canals are a familiar subject in the valley where I live. The addition of pastel ground to create an impasto effect was used to add another dimension to the painting.
Richard McKinley, “Notes of Turquoise,” 2015, pastel, 12 x 16 in. These old irrigation canals are a familiar subject in the valley where I live. The addition of pastel ground to create an impasto effect was used to add another dimension to the painting.

With this as my challenge, it doesn’t matter where I am. I can always find a ditch, swamp, group of trees, or field of grasses to paint. It’s the adventure of the travel and the experience of different stimuli that is enjoyable. As a workshop student once noted while painting with me in France, “You could have painted a group of trees like those where you live.” My reply was, “But we are here in France, eating well and drinking some of the best wine on earth, what’s not to love!” 

Another time I was standing painting a simple field of grass textures with my back to one of the most spectacular places along the Pacific Coast. A fellow that had been watching me paint for a while tapped me on my shoulder and said, “Are you aware of what is behind you?” I smiled and replied to him, “And are you aware of what is in front of us?”

Richard McKinley, Initial sketch for "Birch Windows," 2018, pencil on white Pastel Premier paper, 16 x 12 in.
Richard McKinley, Initial sketch for “Birch Windows,” 2018, pencil on white Pastel Premier paper, 16 x 12 in.
Richard McKinley, "Birch Windows," 2018, pastel, 16 x 12 in. Painted on Madeline Island, Wisconsin.
Richard McKinley, “Birch Windows,” 2018, pastel, 16 x 12 in. Painted on Madeline Island, Wisconsin.

Personal Style and the Techniques Employed

So many artists wish for a style. My belief is that it is not something you pursue, it is something that you let come out. This applies to what we paint, but also to how we paint. I’ve been fortunate to have had the opportunity to watch a lot of diverse artists paint with pastels, and I continue to revel at a chance to watch a demonstration or take a class. 

A master pastel artist that I credit with empowering me to paint in the fashion I am meant to paint, is Albert Handel. When I saw how he gently drifted the pastel over the surface of his paper with such sensitivity, I knew I had found my pastel tribe. Up until that time, I had typically applied pastel with bold marks, layering one on top of another, and never smudging the pastel. This was simply how I thought it was supposed to be done. What I witnessed that day, while watching Albert paint, was an approach that while bold and intense was at times as delicate as the breath of air from a butterfly wing, as so adeptly described by James McNeil Whistler. 

Richard McKinley, "High in the Cascades," 2014, pastel, 15 x 18 in. Having felt defeated by this plein air location earlier in the day, I decided to just take a section of trees high in the Cascade Mountain range and play before heading home. This became the best painting of the trip because I let go of expectations and just painted - play!
Richard McKinley, “High in the Cascades,” 2014, pastel, 15 x 18 in. Having felt defeated by this plein air location earlier in the day, I decided to just take a section of trees high in the Cascade Mountain range and play before heading home. This became the best painting of the trip because I let go of expectations and just painted – play!

It is from Edgar Degas that we all gain permission to experiment. He did whatever he needed to do to produce a painting. Rules of what can, or should, be done were discarded for the sake of the end result. My pastel techniques are more about could, versus should. 

I follow one law: Is it archival? And I break a lot of painting rules. This has led me to try various fluids for wetting pastel, and numerous mixed-media under-washes, to create an underpainting. Experimenting with various techniques of underpainting as a setup for the application of the pastel has become the foundation of my approach. All that stick pastel requires is a surface with enough tooth to hold the pigment. When you factor in the variation of responses created by different surfaces, it becomes creatively limitless. 

Richard McKinley, "Tennessee Trees," 2015, pastel, 12 x 9 in. Pushing the theatrics of painting is a lot of fun. Play, have fun, and see where the painting goes.
Richard McKinley, “Tennessee Trees,” 2015, pastel, 12 x 9 in. Pushing the theatrics of painting is a lot of fun. Play, have fun, and see where the painting goes.

One technique that I have recently been re-exploring is the intentional application of pastel grit to emulate something akin to the impasto technique oil painters frequently use. This adds another visual dimension to the painting that is not intended to be random, or gimmicky. Who knows what wild idea will become the impetus for where my pastel techniques go in the future. It is a big part of my enjoyment.

Richard McKinley, Initial sketch for "Marshland Light," 2017, Hard pastel with the addition of a clear pastel ground to set the drawing and thicker applications for an impasto effect, 16 x 12 in.
Richard McKinley, Initial sketch for “Marshland Light,” 2017, Hard pastel with the addition of a clear pastel ground to set the drawing and thicker applications for an impasto effect, 16 x 12 in.
Richard McKinley, "Marshland Light," 2017, pastel, 16 x 12 in. A watercolor underpainting was applied over the initial drawing and impasto ground. When pastel is applied the impasto becomes very visible. So many creative possibilities, so little time!
Richard McKinley, “Marshland Light,” 2017, pastel, 16 x 12 in. A watercolor underpainting was applied over the initial drawing and impasto ground. When pastel is applied the impasto becomes very visible. So many creative possibilities, so little time!

Three Stages

I believe that the longer we paint the more we discover about ourselves. The key is to acknowledge what it is we do well, and work on our weaknesses. None of us ever graduate! One such realization for myself, which now governs my approach to pastel painting, is that I like to work in stages. 

Stage One I refer to as the Sensitivity Stage. This is the drawing and composition stage of the painting. No matter the subject matter, I attempt to quiet myself and get away from the mechanics of painting and focus on the seeing/feeling part of the process. I play a visual game with myself where I think like a sculptor and try to mentally touch the surfaces of the objects I am about to paint. Rhythms and movement become important. I ask myself, “Where is the viewer’s eye traveling within the confines of the composition? What is the attitude, and personality, of the objects that make up the scene?”.

  • Richard McKinley, Initial sketch for "Echoes of Blue," 2017, pencil on white Pastel Premier paper, 16 x 12 in.
    Richard McKinley, Initial sketch for “Echoes of Blue,” 2017, pencil on white Pastel Premier paper, 16 x 12 in.
  • Richard McKinley, Initial sketch for "Pink Echoes," 2017, pencil on white Pastel Premier paper, 16 x 12 in.
    Richard McKinley, Initial sketch for “Pink Echoes,” 2017, pencil on white Pastel Premier paper, 16 x 12 in.

When the drawing feels good, not necessarily done, I go to Stage Two – Serendipity. This is the underpainting. It is the setup for the anticipated application of pastel. No matter the technique being utilized, I want it to be playful and not overly controlled. Drips, runs, splashes and unforeseen accidents are embraced. I remind myself that pastel is an opaque medium and if my underpainting is a complete disaster, I can repair it with pastel. What do I have to lose? 

  • Richard McKinley, Underpainting for "Echoes of Blue," 2017, watercolor on Pastel Premier paper, 16 x 12 in.
    Richard McKinley, Underpainting for “Echoes of Blue,” 2017, watercolor on Pastel Premier paper, 16 x 12 in.
  • Richard McKinley, Underpainting for "Pink Echoes," 2017, watercolor on Pastel Premier paper, 16x12.
    Richard McKinley, Underpainting for “Pink Echoes,” 2017, watercolor on Pastel Premier paper, 16 x 12 in.

Once the underpainting is done, I go into Stage Three – the Solution. The pastel palette comes out and the gradual application of pastel begins. I prefer to incrementally apply the pigment, knowing that more can always be applied. By going slowly, not out of fear, but to encourage myself to see the potential of what is happening, I am frequently surprised to realize that while more may be applied, it may not be necessary. Stopping myself from doing things, just to be doing them, or because they are there, has not come easily. But it has made all the difference in the end result.

Richard McKinley, "Echoes of Blue" – mid-stage, 2017, pastel, 16 x 12 in. First applications of pastel to the underpainting.
Richard McKinley, “Echoes of Blue” – mid-stage, 2017, pastel, 16 x 12 in. First applications of pastel to the underpainting.
Richard McKinley, "Echoes of Blue," 2017, pastel, 16 x 12 in. Painted in Tasmania, Australia.
Richard McKinley, “Echoes of Blue,” 2017, pastel, 16 x 12 in. Painted in Tasmania, Australia.
Richard McKinley, "Pink Echoes," 2017, pastel, 16 x 12 in. A composition I have painted several times that was inspired from a scene in the panhandle of Florida. While the composition is familiar, every painting takes on a life of its own due in large part to the underpainting.
Richard McKinley, “Pink Echoes,” 2017, pastel, 16 x 12 in. A composition I have painted several times that was inspired from a scene in the panhandle of Florida. While the composition is familiar, every painting takes on a life of its own due in large part to the underpainting.

Looking to the Future

Failure is never a goal but embracing the notion that true creativity is not a linear line, has become my inspiration. So often, we feel that we have only accomplished something when it looks good. When in fact, more is learned from our failed attempts.

I once heard a great artist respond to someone who ask them to please explain what they were thinking about while painting during a demonstration we were watching. Without hesitation, they responded, “I am not thinking, I am doing.” What I now nurture in myself is my intuitive voice. When the heart says, “Pick up that violet and put it there”, I don’t listen to my brain that says, “But why?” I just do it! 

Richard McKinley, "Twilight Moon," 2017, pastel, 16 x 16 in. There was no moon in the sky, but the painting seemed to tell me to put one in. Following that internal voice is something I try to do whenever possible. Nothing ventured, nothing gained.
Richard McKinley, “Twilight Moon,” 2017, pastel, 16 x 16 in. There was no moon in the sky, but the painting seemed to tell me to put one in. Following that internal voice is something I try to do whenever possible. Nothing ventured, nothing gained.

Margaret Stahl Moyer’s inkling that pastel and Richard would become friends was true. She understood me better than I did at the time. And what I now appreciate is that it is the limitless creative possibilities pastel affords that keeps my hand reaching for another stick. The journey is not over.

Richard McKinley, "Indigo Nocturne," 2018, pastel, 16 x 12 in. A daylight reference was turned into a nocturne for this painting that utilizes my impasto pastel technique.
Richard McKinley, “Indigo Nocturne,” 2018, pastel, 16 x 12 in. A daylight reference was turned into a nocturne for this painting that utilizes my impasto pastel technique.

*****

OH. WOW. Can we all just say that together?? 

Now we want to hear from YOU!

Have questions? Ask away. Have comments? Let us hear your thoughts. Richard McKinley and I would LOVE to hear from you so do please leave a few (or many) words after this post.

ONE MORE THING……

WORKSHOP with RICHARD MCKINLEY!!

AAAAANNNNDD I’m pleased as punch to be helping organize a workshop on Salt Spring Island, BC, Canada with Richard McKinley,  9-13 September 2019. 

This 5-day studio/ plein air pastel painting workshop will be focused on the basics. All levels welcome!

The cost will be US$600 and a $200 deposit will be due January 2019 to hold your place.

The workshop is limited to 18 people so if you’re interested, email me as quickly as you can. I will start a list and be in touch with you for a deposit come January.

And that’s it for me!!

Until next time,

~ Gail

Two fabulous books by Richard McKinley!!

PPS. In case you’re interested, here are a couple of short interviews I did with Richard McKinley…. (I’m disappointed I wasn’t able to catch up with him at IAPS 2017 byt as President, he had a LOT on his plate!)

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Comments

72 thoughts on “Richard McKinley – The Journey Never Ends”

    1. Cheryl Parr

      Thanks, Gail and Richard!!
      I really enjoyed this blog! A conversation with one of my favourite artists!
      I so wish I had been introduced to painting 20 years ago!!
      I am not just a pastel beginner but a new artist all together!
      What would your most favourite pastels and papers be?
      Thanks so much for agreeing to do this blog with Gail!
      A big fan
      Cheryl Parr

      Reply
      1. Gail Sibley

        Cheryl your excited comment made me grin!! Thank you!
        I know it’s frustrating when you’ve found something you’re passionate about to wish you’d started earlier. I’m just glad you’ve discovered painting and that you are giving it your all now. Go for it girl!!
        I will leave Richard to answer your question about his favourites.

        Reply
      2. Richard McKinley

        Cheryl,
        Thank you for the kind comment. It was a pleasure and honor to be ask by Gail to do a blog. Concerning your pastel and papers question: I really do love them all. Each brand of pastel and paper has its own personality, just like children. While I love them all, I do tend to use several brands more than others, although that does change from time to time. currently, my softest pastels are Great American, my harder sticks are Rembrandt, and my main stay brand is Girault. Paper is mainly my own surface consisting of grit on a rag substrate and milled sandpaper surfaces such as Uart and Pastel Premier. I have a supply list on my website that may provide some clues.

        Reply
        1. Cheryl Parr

          Thank you for your reply, Richard.
          My Birthday is in September. Oh, how I wish I could be at your workshop in Salt Spring Island B.C Canada in September!
          I live in Ontario. If only I had remembered this when I first commented here. I just may have been able to find the deposit cash needed now, in January! 🙁
          A whole 5-day workshop!! I am a total beginner. Well, I now have been playing with pastels for 1 year this very week! I love them.
          I have collected many pastels, mostly Unison, Nupastel, the 120 Paris collection Senneliers, and most recently the 60 set Terry Ludwigs – the landscape set you put together!
          I have an issue travelling alone, and my hubby and I would need a live-in dog/ cat sitter if we traveled anywhere. Making it a very expensive trip. Unless we drove and rented somewhere that allowed pets! LOL
          I will look forward to more of Gails Blogs and hope she invites you back to talk about your visit to B.C in September!!
          Thanks again.
          Your friend,
          Cheryl

    2. Wendy Prest

      I am a great admirer of Richard’s work and his blog was a treat. He is so generous with his ideas and techniques, plus he’s sending out so many “You can do it, too!” vibes! Thank you Gail, for inviting him and Thank you, Richard for all you do for the world of pastel.

      Reply
      1. Gail Sibley

        Ah yes, the “You can do it too!” vibes from Richard! Love that you picked that up and pointed it out cause you are soooo right! And I’m with you on thanking Richard for all his work in the pastel world!!

        Reply
    3. Richard McKinley

      Patricia, As noted in the blog, I am a bit of a pastel hoarder. I have found something wonderful about every brand of pastel but if I could only have one it would be Girault. I find them very pigment rich and great for travel.

      Reply
      1. Gail Sibley

        In English:
        Hello,
        a very informative and helpful presentation.
        Thank you!
        Jürgen

        My answer:
        Hello Jürgen, I’m so glad you found it useful!! Thanks for stopping by 🙂

        Google translation (since I only know a couple of words in German!:
        Hallo Jürgen, ich bin so froh, dass du es nützlich gefunden hast !! Danke für’s vorbeikommen 🙂

        Reply
  2. Kerrie Moss

    You said it Gail – Wow!! Thanks Richard, it just feels like I have been sitting down having a conversation with you in person. So much to think about and to explore. Wow! 😊

    Reply
      1. Richard mcKinley

        Marsha,
        Impasto is the term associated to thick passages of paint. Most frequently done with the brushwork of oil and acrylic painting. Artists began utilizing these thick brushstrokes to accentuate certain areas throughout a composition. While it can be used to represent the inherent texture of a given object, it is most often utilized to draw attention to an area for dramatic effect. Most of my oil paintings employ the use of impasto brushwork and I decided to find a way to mirror the effect in my pastel paintings with the use of a pastel ground. When pastel is applied over the ground it hits the thick brushwork and adds another dimension to the painting. Several years ago I produced a video, available through artistsnetwork (F+W Media), on my Impasto Technique. While I don’t use it all the time, it does give me an added tool for pastel expression.

        Reply
        1. John Robert Small

          This link is not working, like so many Artist Network links. Are they still selling Richard’s videos or are they available elsewhere?

  4. Lorraine Hannan

    Oh, thank you so much for Richard McKinleys blog input. I was happy to see the painting done in Tasmania. I live in Tasmania, but unfortunately I was unable to attend Richards workshop. I am hoping that he will visit our beautiful island again sometime in the future so I may have a second opportunity.
    Thank you again, Lorraine

    Reply
    2. Cathy Hull

      Richard is such a generous and nurturing teacher and I can’t wait to work with him again in 3 months time in Tasmania! It was such a joy 2 years ago – my very first touch of pastels to paper was with Richard – how lucky am I! I’d be keen to learn about the impasto technique this time – just love the textures!

      Reply
      1. Gail Sibley

        Cathy thanks for sharing your impressions of Richard as a teacher. Love that he’s going to Tasmania again! How wonderful to have your first time with pastel be with Richard McKinley. It’s wonderful to start with the best. Indeed how lucky you are!

        Reply
    3. Cathy Hull

      I hope you’ve managed to join Richard’s next trip to Tasmania in January, Lorraine.
      I was lucky enough to be there when we were at Wychwood Gardens, the location of Richard’s painting – so much beauty in every direction, it was difficult to decide what to paint. One of the things I enjoyed doing was noticing what Richard chose and, as he states in this blog, it wasn’t always the obvious. I now find myself wondering, when looking for something to paint, “What would Richard see?”
      I had never touched pastels in my life until Tasmania 2017, so to be inducted into this wonderful medium by one of the absolute best was such a privilege. Reading Richard’s blog really is like listening to him in a workshop – such a generous, nurturing, positive teacher. I, for one, can’t wait til I’m in his “class” again when he’s back in Australia in 2019!

      Reply
      2. Lorraine Hannan

        Thank you Cathy for your reply. I too admire Richards work so much, he is certainly an inspirational artist, I pour over his dvd’s and book every chance I get. I have checked his blog and it appears that the workshop is sold out. I will have to try to put into practice the advice he gives so generously in the DVD’s.

        I am so grateful to Gail for inviting Richard as a guest Blogger, and to Richard for accepting.

        Reply
        1. Gail Sibley

          Sorry to hear the workshop is sold out Lorraine. I hope you are on a waiting list because you never know!!
          I too was so happy Richard agreed to be a guest here. You can imagine!

      3. Richard McKinley

        Thanks Cathy,
        What a pleasure to have painted with you in beautiful Tasmania! I am looking forward to picking up where we left off next year.

        Reply
  5. Verna

    Thank you for the perfect message that I needed to hear, “Go back to the same place again and again.”
    I created a good painting on Monday and ‘ruined’ it on Tuesday. Hearing that the really great artists also have to work through the not so good results has inspired me to just ‘do it’ again.
    Sooo…. Tomorrow morning, I will go back to the same place and do another one. Should be fun.

    Reply
  7. Nancy Malard

    Words fail me…yes the journey never ends because it is a spiritual one.
    Thank you SO much Gail for bringing this fantastic artist to us. It’s more than just the technique, or the mastery of color; I love how he explains the WHY of painting.
    All the best,
    Nancy

    Reply
  8. Chris

    I have one book of Richard’s and refer to it often. What I actually find even more inspiring than Richard’s paintings is his thinking behind how he works and how he has developed that thinking….it is the spiritual side of things. Finding beauty in scenery that most people would walk straight past takes a long time to “get to”, mentally. I don’t know how it happens, it’s like a mix of intense observation and appreciation so that the mundane is finally seen as something fascinating. I’ve experienced many occasions when passers-by have made odd comments to our art group such as “why are you painting that?”….they look but they don’t see in the same way as the painter. And yes, it’s so important to just play and experiment…I can identify with so much said here. Please thank Richard for his great input and pictures, greatly appreciated.

    Reply
    1. Gail Sibley

      Chris thank you for your addition to the conversation especially your words about the artist’s eye, how we as artists can see so much more in a mundane scene (Richard being a master at this!) than a regular person going about their life. And it’s our job, as artists, to hold this unseen beauty up to the world in our paintings. I love that you shared what passers-by say about your subject!!
      And no need for me to pass on your thanks to Richard – he will see it here directly from you 😀

      Reply
  9. Lisa Esmer

    What a great post! Verna and Kerrie hit it right on the head. It was like having a one on one conversation with Richard, who was able to tell me what I needed to hear. Look for the beauty in the mundane. Perfect! Thank you, Gail

    Reply
    1. Gail Sibley

      That’s fantastic to hear Lisa! And I totally agree – it’s as if we are cozy together in a room having this conversation. And it’s Richard’s way to make us feel this isn’t it?

      Reply
  10. Gailen Lovett

    I’ve been a fan forever and this essay was wonderful! I love all the color notes in your paintings and your poetic vision of the landscape. There’s a lot to explore in each of the paintings you’ve shared and each is a learning experience. Thank you.
    Gail, thanks for presenting a pastel master – Richard McKinley was a fabulous surprise!

    Reply
    1. Gail Sibley

      Ahhhh another forever fan! And I love that I surprised you Gailen 🙂
      As you say, there’s so much to explore and be with in these paintings, so much to learn from each.

      Reply
  11. Rhonda Sorrells

    Sheer poetry….the paintings, the thoughts…all of it. Thanks, Gail, for this post and thank you, Richard, for your generous willingness to share your on-going journey! Rhonda

    Reply
  12. Jackie F.

    Gosh, there is just so much goodness in this blog, where do I begin?! A couple of things that really spoke to me are: finding the beauty in the mundane, and the lessons that can be learned in failure. Also, I really appreciated the step by step process, from sketch to final painting! Just so fun to see things like this! Thank you both, Richard and Gail!!

    Reply
    1. Gail Sibley

      Jackie, thank you for your exuberant response and sharing your takeaways from Richard’s post. Love the ones you chose! It’s easy to forget that every failure teaches us something and helps us along our way to growing as an artist.

      Reply
  14. Curt Eley

    I’ve admired Richard’s work for years….and this was truly inspirational. I love the idea of revisiting the same scene time and time again….hadn’t occurred to me. Also would like to know more about his impasto technique…..what is ‘pastel grit’? Very enlightening blog….
    Thanks…

    Reply
    1. Gail Sibley

      Thanks for checking in Curt! It’s amazing some of the things we don’t think about that seem quite obvious once we know….like revisiting a scene. Thank you for sharing this lightbulb moment with us!
      I will leave Richard to share more about his impasto technique.

      Reply
    2. Richard McKinley

      Thanks Curt.
      The pastel grit I am referencing is a simple concoction of a binder and inert grit. I use to make my own, tells you how long I have been playing with pastels, but now buy it ready to use. Art Spectrum makes a wonderful line of pastel grits called ‘Art Spectrum Colourfix Pastel Primer’, Golden makes a Pastel Ground, and Liquitex Clear Gesso works very well. Each has a different personality and are all fun to play with.

      Reply
  15. Nancy Darte

    Oh, Richard, what wonderful lessons. I loved seeing your palette the MOST, well, after the words and paintings, of course. Those blues in the Birch Windows and We Three: genius.
    B.G. sent this link to me. And I’m sending it on.

    Reply
    1. Gail Sibley

      I too LOVED seeing that gorgeous palette of colours Nancy. Thanks so much for sharing your favs. Love that you dropped in with a comment for Richard!

      Reply
  17. Jan Olson

    Thanks for Richard McKinley -IT BROUGHT ME TO YOUR POST- he is truly a wonderful painter and person and to know him is a real pleasure. In person he is just plain fun. I am a big fan of his. I was drawn to his work before I met him and after taking a workshop with him I was hooked

    Reply
    2. Richard McKinley

      Thank you Jan!
      You are a dear friend and I have enjoyed every chance we have had to paint together!
      I remember you standing on those rocks jutting out into Lake Superior as a rain storm was approaching, busily painting away, you saw the beauty, and that is why we do it.

      Reply
  18. Merrie Datin

    Such a great blog post with so much information and beauty. I’ve been trying watercolor underpaintings on Pastel Premiere paper. The paper is buckling and not drying perfectly flat. I have taped it down tight to a support. I don’t think I am using too much water. Any advice? Thanks so much.

    Reply
    2. Richard McKinley

      Merrie, Thank you for the comment, glad you are enjoying experimenting with watercolor underpainting. Certain papers will buckle when water is applied. I have those papers mounted to a ridged board. There are several methods. I describe a couple in the Pastel Pointers book, and information is still available from the Pastel Pointers blog hosted on ArtistsNetwork.com. All of the blogs are still available there. Go to the site, do a search with any key words and several posts should pop up. Premounted Pastel Premier, and UArt paper is also available from Dakota Art Pastel. A great mail order pastel supplier. Have fun!

      Reply
  19. Marie Desy-Field

    Thank you so much for this wonderful blog. I am fairly new in learning drawing (just over 3 years) and when I wanted to learn the pastel techniques this year, Paintbox studio, where I take classes in Hammersmith, London, UK, came up with a book of Richard and I was attracted by the colours he uses. I’ve painted ‘Summer grasses’ and another one which represents houses and roofs (sorry I didn’t take note of the title but will do so next week). I was so pleased to see Richard featuring as a guest after I’ve subscribed to your blog. Thank you both for the privilege.

    Reply
    1. Gail Sibley

      Marie, thank you for your lovely comment! I am so glad you discovered Richard McKinley in book form. I think his Pastel Pointers book is such a great reference for beginners and more advanced pastellists. I only recently got a copy and was delighted by all the different things he covers.
      I was honoured to have him as a guest!

      Reply
    1. Gail Sibley

      Glad you enjoyed Richard’s blog post and gained some insights from it! I’m very much looking forward to teaching in Naples and look forward to meeting you 😀

      Reply
  21. Sandra Freeman-Schroeder

    I loved this article and all the pastel paintings from beginning to end. I am so happy to see your wonderful work. I have been following you since you worked at the Frame House with Art and I.
    You have been an inspiration to me and I have been painting ever since. I now live in Bandon OR and am I am one of the founders of Art by the Sea here.
    Keep on the journey. Sandy

    Reply
  23. John Robert Small

    I’m exploring more if McKinley now- does anyone know if Artists Network is a good place to buy McKinley downloads? I’ve seen quite a few comments (Wet canvas) saying Artist Network now accepts payments but never sends products – and has a non -responsive customer service – forcing buyers to rely on their bank for refund.
    I very much want to watch McKinley’s underpainting video download…where is the best place to buy it? Thanks ❤️

    Reply
  25. JV Magoon

    This was just fantastic! Richard McKinley is not only a wonderful artist, but a gifted communicator as well. I loved seeing the progression of his works, then zoomed in and poured over each finished piece. Delicious! I’m definitely going to try the pastel primer; very interesting effect. I too seem to find the beauty in little spots that we all drive by on the way to the store. It’s everywhere! Also loved his attitude about revisiting the same place to paint – it’s not the same, I’m not the same. Great stuff!
    Thank you, Gail – this was truly inspirational!

    Reply
    1. Gail Sibley

      Yay!! So good to hear JV and so spot on about Richard and his work and his ability to teach us. Thank you so much for commenting. I’m delighted you were inspired 😀

      Reply

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Gail Sibley

Artist. Blogger. Teacher.

My love of pastel and the enjoyment I receive from teaching about pastel inspired the creation of this blog. It has tips, reviews, some opinions:), and all manner of information regarding their use through the years – old and new. Please enjoy!

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