The Paint-Around

L-R: Keith Demanche, Lisa Regopoulos, Terri Brooks,
and Maryann Mullett with the finished a paint-around

July 30: Closing day of the Pastel Society of New Hampshire’s Members Exhibition 2022 at the Wolfeboro Library and I arrived to pick up my paintings. This was my first juried exhibit with them since joining last year and I was up for an award. I was nervous. I only know a couple of them, and as I get a bit of anxiety around groups of people, it’s often a struggle for me to go places. I’m OK once I get there and start chatting with others.

The room was being set up for a paint-around demonstration. I’d not heard about a “paint-around.” I’m not interested in watching painting demonstrations. I don’t watch You-Tube videos, take webinars, or anything like that. I want to be painting and doing my own thing! I thought about slipping out until it was over, but I’m so glad I stayed.

Four artists set up in the front of the room, each easel on a floor covering to protect the carpet from falling pastel dust. Each had their own palette table or attachment to the easel (plein air artists have a more solid, portable set up than those who are studio artists.) Their set ups included the support/paper they would be working on, plus the reference photo to paint from. One woman had hers on an i-Pad instead of a print.

A timer was set, and the artists had 10 minutes to start their paintings. At the end of 10 minutes, they moved to the next person’s painting for another 10 minutes, then on to the next, etc. Each one worked on one another’s painting with a final 10 minutes back at their own original painting.

When I first heard that this was what a paint-around was, I thought, “I’d never dare do this; work in front of others let alone swap to work on someone else’s painting. What if I messed someone’s up?”

Of the three doing landscapes, two artists had black U-Art 400 paper. The other two never said what paper they were using. One had her background painted orange and the fourth had pre-drawn an outline of her still life.

I was curious about the colored backgrounds. I was especially intrigued by the orange background and was totally amazed with what that did in regards to the original photo as the artists took their turn at it. (I’ve tried color a couple of times but couldn’t really tell if it made a difference. Now, however, I’m inspired to try again.

At first, all was quiet as the artists dove in their work. It was amazing how fast they worked, although, I really shouldn’t be surprised. Then those of us watching were invited to ask questions, such as what kind of paper and was it difficult to work with someone else’s palettes – as not everyone sets their palettes the same way. Plus, there are different types of pastels.

There was conversation about underpaintings. Not all types of paper will hold a wet underpaintings such as with watercolor or alcohol wash. Some papers will curl. There were comments on sanded papers. I didn’t see the blue painter’s tape which I use to attach my paper to the easel. One woman used a big clip, two others used a couple short strips of masking tape in the corners, and I couldn’t tell how the other woman attached hers.

I asked about the uprightness of the easels. I keep hearing that’s the way pastel artists should work. I tried it and was not comfortable with the easel being so vertical… and that means I deal with pastel dust getting onto my paintings. Hmm, maybe I should adjust my easels and try again…

The scenes came together as they swiftly worked. Oh, I wanted to get closer and look over each one’s shoulder. I wanted to see clearer how they were making their strokes. I was mesmerized and I almost wished I could jump in there and have a go at it myself.

One thing that stood out for me was I didn’t see anyone doing any kind of rubbing until the very end, and then that was minimal. I rub a lot to blend and soften because I prefer smoothness in my paintings. I also know many artists are more about the strokes.

So many other questions I would have liked to ask, but would it make me sound unprofessional, like a newbie artist? For instance, I’d like to know more about underpainting – I usually use pan pastels. What’s their favorite pastels to work with? Favorite support? What are their challenges? (Which is what I want to know most as I’m fascinated by people’s personal journeys.)

And, it’s not that I think any one is better than the next. We all have our own styles and techniques. I’m just curious in how people work, why they do this over that. Not that I want to copy from them, but there are always tips we can pick up from one another.