Welcome, Vlkommen, Bienvenue, Velkommen, Welkom , Tervetuloa, Dobrodoli, Vtejte

From the Editor

Cover Images
"Les Mourres"
Ghislaine Fabre
The Mask of Time
Ole Hedeager

The Scribbler Team

This issue is made by:
Ruth Mann,
writing
Dorothea Schulz,
Writing, translation, proofreading
Jim Humphreys,
editing and layout
Annika stmann,
writing
Rosie Farrell
Proofreading
Contact:
scribbler@pastelguild.org

How many times have you considered

booking a painting workshop, only to discard
the idea for any number of reasons. If you
select the right tutor for your course, the
benefits can be substantial. Read Ruth
Manns report on the workshop recently
held in Vaasa Finland, which several of our
members attended.
More of our members have been chosen by
manufacturers to demonstrate their
products, such as Dolores Saul for Uart
papers, and Carmen Griehl-Gro who has
been featured in the pages of the Paint Draw
Blend website. Some of this success is
coming as a result of people reading the

pages of this magazine, and logging onto our

website.
The summer get dusty competition was well
supported and resulted in quite a
challenging task for our guest judge Marjorie
Vincent, for which we thank her for her time
and effort. Ghislaine Fabre came out as the
winner from very stiff competition. Just how
difficult can judging be? Take a look at not
only the winning paintings, but also the
other entries which did not quite make the
final selection. Try selecting your top three
from the gallery of paintings on page 19.Will
you find it easy?
Keep happy, stay dusty

Jim Humphreys

Inside this issue

PAGE 3
All the winners of the Summer
Get Dusty Competition

PAGE 8
Meet Ghislaine Fabre
Summer Get Dusty Competition winner
PAGE 10
Get Dusty results for June
PAGE 12
Library competition result

T h e

P a s t e l

S c r i b b l e r

Page 6
Meet our Guest judge
Marjorie Vincent

PAGE 19
Summer Get Dusty Entries

PAGE 13
Meet Barbara Jaenicke
PAGE 15
Finland workshop report
PAGE 17
News
PAGE 18
Get Dusty Schedule

P a g e

Get Dusty
The winner of the Summer Free choice Competition is:

Ghislaine Fabre

WINNER

"Les Mourres" Ghislaine Fabre

Judges Comment:
I was immediately attracted by the warm and bright colours of this landscape.
The composition is simple and effective; you can easily follow the small path that leads to some distant destination. We can
guess at it on the far right underneath the blue hill.
I particularly like the square format; it gives a contemporary touch to the work.
The whole gives the impression of having been executed quickly with painterly strokes.
It is a landscape which is simple in appearance but perfectly executed.

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

Second place
Judges comment:
This is one of my favourite subjects; a
simple landscape, illuminated by the
warm orange light of the sun on the
verge of dropping behind the horizon.
The strong contrasts add an almost
dramatic dimension to the whole.
The composition is simple; a path
bordered by trees but which are
cleverly bent to lead us down the path
to the top left.
The limited palette brings out the light
which is really the main subject of the
painting. The path is just a pretext for
the play of the light.
The shadows, the one in the
foreground and the other which splits
the painting lengthwise, let us only
guess on the vegetation beneath. I love
how my eye doesn't stop only at what
we can see but also at what might be
further on outside the picture.
"Evening walk in Normandy" Ruth Mann

Third place
Judges comment:
While this is a subject which one has
already seen and which by itself may
not be the most original, this painting
is so beautifully executed that it had
to be included among the first three
places.
The pebbles are so remarkable that
we want to touch them and we could
spend an infinite time to observe
them one by one as they are so
similar and yet so different.
This is a work that must have taken a
lot of time and patience to paint.
The colours are delicate and
harmonious in shades of blue, grey,
green, and pinkish orange. The shine
is perfectly rendered.
"Pebbles" Jill Harker

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

HONOURABLE MENTIONS

"Back home" Marie-France Oosterhof

Judges comment:

"Vassor wild flowers" Ruth Mann

Judges comment:

This is a dynamic diagonal composition with strong colours

which immediately catch our eye.
I really like the small vertical strokes which were used in
certain areas of the painting. They suggest a landscape which
in my opinion only comes second.
The strong contrast between the purple background and
bright white of the sheep lets our eyes immediately settle on
them. They are the central element of the painting and do
not need to be more detailed; they are easily identifiable.
I love the blue accents which suggest that they pass through
shadow, probably from something that is to the left outside
the painting.

The vertical size of the painting and the execution of its subject are in total harmony. These are wild flowers, simple
meadow flowers, and the execution is fast and vigorous.
The pyramidal composition gives strength to the subject and
naturally leads the eye towards the central flowers which are
the liveliest and most defined.
The values are spot-on yet subtle and suggest the density of
vegetation. The upper part of the painting which is executed
in a more fluent way lets our eyes drift on.
The complementary colours are perfectly matched. This is a
simple but well-executed painting.

Judges comment:
Even though the subject matter is perhaps not the most
original, the execution is neat, delicate and pleasing.
Simple in appearance, sunsets can quickly become "kitschy"
which in my opinion this one is not.
The composition gives the leading role to the magnificent
and delicate colours of the flaming sky.
The dark foreground values naturally lead us to the brightest spot in the painting, the sun. The halo around it and the
reflections on the surface of the water are very well executed and captivate the viewer. My gaze was drawn to this
bright streak in the sky that seems to be just a detail, like a
passing plane, but which gives life to the whole. I find this
painting very well thought out; a beautiful sunset we'd like
to admire in reality.

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

"Sunset at Lynmouth" Kerstin Birk

P a g e

Introducing our Guest Judge:

Marjorie Vincent

As a little girl, I was somewhat

shy, and spent most of my time
drawing and sketching the
people and the landscape that
surrounded me.
It was therefore
a natural step to
study visual arts
and later art
history. During
that time I
mainly drew in
black and white,
with a bit of oil
pastels for
colour. The next
twenty years I
devoted myself
to raising my
children and
completely
changed my
professional vocation.
While I continued to visit
museums and exhibitions,

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

something clicked after consecutive

visits to the Toulouse-Lautrec
museum in Albi and an exhibition on
Modigliani and Soutine in the
Pinacothque de Paris in 2012. Now
that I had time for myself again, I
wanted to resume painting, though I
had no idea where to start. My
husband dragged me into an art
shop and forced me to buy
something. It happened to be a box
of dry pastels, completely unknown
to me until then; inexpensive, fast to
use, close to drawing and hadnt
Degas and Lautrec worked wonders
with them?
I first tried them out on white sketch
paper. The results were not very
conclusive, but the feel of it was
agreeable, they were easy to use
and the colours were so bright. I
struggled on, searching the internet
to improve my technique. I
happened upon the websites of well-

techniques, particularly those by

Karen Margulies and Marla Baggetta,
I subscribed to Pratique des Arts
with its special editions on pastel, I
bought Liz Haywood-Sullivans
book I became literally addicted to
the dust!
I began to feel good standing in front
of my easel, but I also felt the need
to go beyond learning on my own
and study with professionals. In
2013 I did a one-day workshop with
Sophie Amauger and shortly after, a
two-day workshop with Claude
Carvin.
The latter told me that he believed
in me and pushed me to attempt the
adventure of exhibiting.
Everything then happened very fast.
I was juried into several pastel shows
and was one of the winners of a
competition which was organised by
the Pastellistes de France to exhibit
with them at Faytiat during the
summer
of 2015.

My
working
method
Since I
was
young I
only
painted
portraits,
for my
family or
friends,
and
Fleures de dunes

known pastellists like Claude Texier

or Alain Bellanger who showed their
work process, I watched all the
videos I found about pastel

landscapes, the nature where I love

to walk, to ramble, to replenish.
From very early on, I wanted to
express on paper an instant, a light,

P a g e

a smell.
After all these years I still have the
same desire, feel the same pleasure.
I only work with my own photos. The
painting only takes shape after a
long period of observation and
numerous preparatory sketches to
study the composition, the values,
the light and the format. I think that
a well-prepared painting is already
half-done. I dont hesitate to remove
or add elements to balance my
composition.
After a detailed charcoal sketch, I
start by introducing the darkest
values and then continuing to the
lighter values, always working on the
whole painting. I do not hesitate to
break my pastel stick and use its
side; thus I paint more than I draw.
As Im still experimenting, I always
try out new papers with different
textures and colours, although my
current preference is for
Clairefontaine Pastelmat.
Like all artists I always have doubts
about my work; then I try to
remember what Marla Baggetta
said: Not every day is going to
produce a winner, not even every
other day or even every week. Thats
just part of the process, and the
bad ones are not just part of it but
a necessary part of it.

A cache cache

Why did I choose dry pastels?

Firstly, as I mentioned at the
beginning, because they are easy to
use, relatively cheap, and you dont
need a solvent or preparation.
Secondly, I am attracted by the
richness of the pigments. It happens
quite often that I admire my box of
pastels, a bit as if it was a painting.
I adore their mat and velvety
appearance. In addition, the
different brands offer such a variety
of hardness that it is possible to
achieve whatever you
want with them; there is
something for
everybody. And the
producers of pastel
supports offer us a large
choice in different
textures and colours.

only paint what makes me resonate.

A good number of people in my
circle prefer my portraits to my
landscapes. And yet, the sole fact of
getting a commission blocks my
creativity, so I have put them aside
for the moment and only paint
landscapes, the landscapes of my
part of France I love so much: the
Petite Camargue.
I only started with paste three years
ago and already had the privilege to
exhibit alongside artists I admire,
and to meet during these exhibitions
people who share the same passion
as I. I have already experienced
unforgettable moments; and for all
these reasons I will not stop
painting.

Conclusion
For my part, although I
was pushed to share my
work with others
through exhibitions, I
practice pastel painting
in a very selfish way. I

Ombres

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

Interview with our Summer Get Dusty Winnwr

Ghislaine Fabre
By

Dorothea Schulz

went on to discover this medium I knew nothing

about. I had found a technique that suited me, a
medium that mixed drawing and painting and was
suitable to my impatience.
I love to apply the pastel directly with my fingers, I
love how I can achieve fluent and mysterious effects. I
love its refined, sensitive and soft side but I also love
how powerful it can make a design.
Dorothea: Which contemporary artists inspire you
most?
Ghislaine Ohthats a difficult question to answer;
there are so many whose work I love and for very
different reasons! In fact, I can love the colours and
the design of pastel artists like Tony Allain and marvel
at his ability to simplify and to say so much without
Dorothea: Please tell us something about yourself and
detailsbut also be fascinated by the hyperrealism
what brought you to art
and technique of artists like
Ghislaine Thank you for this
Ruben Belloso. To name all
interview, Dorothea! I was so happy
the artists who inspire me
when I heard that I had won, a bit
would go beyond the scope
like a child who had just received
of the Scribbler; Casey
some wonderful news. Les
Klahn, Florence Hamelin,
mourres, the landscape that I
Ruben Belloso, Philippe
painted is very close to where I live
Janin, Albert Handell,
and has always attracted me. So I
Gwenneth Barth, Nathalie
used one of the many photos of
Picoulet, Sally Strand, Lynn
that place as a reference for my
Howarth, Alain Bellanger,
painting.
Tiziana Ceschin, Desmon
When I was a child, I loved to draw,
OHagan, Liz Haywoodbut I only ever used charcoal or
Sullivan, Richard McKinley
Chinese ink. I believe I was afraid to
e.a.So many masters I
use colour; I always thought I would
admire! I think its
make it worse. Later in life I
unnecessary to say that I
Le vieux hameau
dabbled in oil, but my work didnt
dream of participating in
leave me enough time to paint as
workshops with all these fantastic artists
much as I would have liked. I started as a warrant
Dorothea: You paint portraits, but your main interest
officer in the army and later became an engineer. I
seems to be landscapes. Why is that? Where do you
worked in vocational retraining and taught future
find your inspiration?
management assistants among others. This was all
G: I am
very far away from pursuing an artistic career. A year
totally self
ago I retired; this finally allows me to live my passion.
-taught, so
So far Ive had no formal art training. I have mostly
I can allow
studied on my own by reading, thinking, comparing;
myself the
the only art courses I ever did were two half-days with
freedom
David Hervelin this spring
to use a
Dorothea What drew you to pastels? What do you like
variety of
about this medium?
styles and
Ghislaine: I first came into contact with pastels
because of a job transfer; students and colleagues
gave me a box of pastels as a farewell present. So I

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

Oliviers pour PGE

Page 8

approaches and not be

Sometimes I do a sketch first,
constrained, but follow
sometimes I start without or
the whim of the
sketch only a bit, especially with
moment. I love to paint
landscapes. I very rarely use a
faces, nudes,
fixative these days thanks to the
silhouettes and I love
quality of the new papers.
above all that feeling of
Dorothea: what are your plans
sculpting with my
for the immediate future?
fingers and seeing a
Ghislaine I am exhibiting with
face appear bit by bit.
three friends from the 11th to
It is an emotional
the 30th September in a little
moment when a gaze,
village 30km from where I live. I
a smile comes to life on
Eglantines SELO pour PGE
hope to enjoy this moment of
the paper.
sharing.
But to be able to convey my love of nature by
Then Id love to profit from the sumptuous
reproducing the landscapes that affect me, to try
autumn colours and attempt to paint plein air. Id
and capture the light, the atmosphere; that is a
love to more and more catch the moment, the
permanent challenge I never tire of. I live in a
actual light on location without the filter of a
small village in the South of France, in Provnce,
photo. I know how difficult that is. Never mind,
very close to
Id love to try it out and learn from my
Marie-France
experiences. At the moment I am testing it for the
Oosterhof.
current Get Dustywowdifficult subject!
The
Ive always admired the quality of work of welllandscape
known artists and I am conscious of the long way
changes so
ahead of me to develop, but the thing that keeps
much during
me motivated is that I lean something every day.
the seasons!
Another big wish of mine is to join two or three
There are the
workshops with pastellists I admire; I hope there
sumptuous
will be some in France!
coloured
My dream; to find my style!
greys during
Let me finish by saying how happy and flattered I
the dry
am that I could join PGE; I already had the chance
periods
to meet Elisabeth Blass and of course Mariealternating
France, who lives close by! I am so happy! Again,
with the
thank you all, you motivate me to continue my
vibrant
discovery of pastel.
colours of
Nuque de Fabienne
gorse,
lavender and sunflowers, the ochres in spring and
summerHow can you resist the urge to bring all
this on paper with the help of your pastels?
Dorothea: What materials do you use? How do
you proceed?
Ghislaine: I am a curious person and I always try
out different materials and read what other
artists say to benefit from their experience. I use
mostly Unison and Schmincke, but also Sennelier
and Rembrandt. The Senneliers are very fragile; a
pity since their pigments are very beautiful. If you
use a little too much pressure, they shatter. I
regret that I cant try out theTerry Ludwigs; when
I see on FB the colours my fellow pastellists use, I
dream to be able to buy a box of them one day!
I use either Canson Mi-Teintes Touch, Pastelmat
Les Mourres different version
or Sennelier La Carte. I love the possibility of
using water with my pastels at the beginning or
the end, which is possible with Mi-Teintes Touch
and Pastelmat.

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

Page 9

Get Dusty
The winner of the June Interpretation Get Dusty is
Ole Hedeager

WINNER

SECOND PLACE

The Mask of Time Ole Hedeager

The Judges say:
As the years pass we change but inside we are still the same. It is almost as if we had a mask of time over
our true self. The interpretation of the title is spot on! The painting is very skilled and the limited palette
is well mastered.

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

1 0

SECOND PLACE
Light on You
By Marie-France Oosterhof
The Judges say: This is a wonderful way to depict the
title Light on you. Imagine thousands of emperor
penguins at the Antarctica waiting for summer and
suddenly the biggest spotlight in the world suddenly
hits you!
The composition has a lot of tension with the
diagonals created by the penguins in one direction
and the sunbeam in the other. The cool blue and
violet colours contrast beautifully with the orange
sunlit penguins and guide us right to the focal area.
The painter shows skill and confidence in the
seemingly simple, and yet on the spot, painting style.

THIRD PLACE
Waiting for God
By Ruth Mann
The Judges say: The artist has managed to convey a completely silent mood as if frozen in time and yet a tension in
the anticipation that oozes out of the painting. The very
subdued colours strengthen this feeling. The contrasts are
made entirely with tints. This is a very well done portrait.

HONOURABLE MENTION
Not my Cup of tea
By Dirk Van der Veen
The Judges say: This painting leads the mind to Dali style.
The leadlight church windows in the sky give us a feeling of
serenity while the sauce is poured into the drain in the road
discarding it all. A seagull is looking back over its shoulder at
the strange world of mankind contrasting with the purity of
nature on the right. This is a fun and interesting painting.

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

1 1

Library Challenge Winner

Annika stmann
PGE Photo Library challenge 2015
Wouldnt
it be nice
if we all
lived in a
location
where we
just had
to step
out the
door and
had hundreds of great photo ops? Or
good weather year round? But most of us
dont, so having access to photos is
sometimes our only option. We normally
find something we can paint among our
own photos, but again; sometimes we
dont. Giving our members access to
good reference photos without them
having to worry about the dreaded
copyright issue was the reason we
started our own PGE photo library in
2014 and why we had a photo library
painting challenge.
Of course, slavishly copying a photo is not
what this is about; but in a way we can
make someone elses photo our own
when we use it as a starting point and
create something new and unique.
I think our LIB challenge winner, Annika
stmann has shown us brilliantly how to
do this. She has created not one, but 4
paintings from the same reference photo
and each one is different. Well done,
Annika!
This is what Annika has to say about her
Lake series for the Lib challenge
I believe that anyone who begins to paint
must start by allowing herself / himself to

Picture 1

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

copy good paintings and photos. After a

period of replicating, when you have
learned the technique for your medium,
colour theory, composition, rules of
proportion, etc. you then have to let go
and begin to compose yourself to get
further with your artistry.
Here PGE's image library can be very
useful. If you need to copy good pictures
you will find photos of all types to work
with, and those who want to start

My first version was my interpretation of

a fresh and perhaps a bit chilly late
summer landscape (Figure 1). For the
second version, I decided to change the
colour scheme completely, and wanted
to create a night scene with a completely
different atmosphere, (picture 2). I
wanted to show that simple means can
change the mood of a seemingly similar
view, and therefore I chose the more
dramatic and bold colours. Picture No. 3
shows again the same view, but now with
a lighter, softer, more dreamy colour
scheme. Finally, I decided to return once
more, this time with the cold winter
colours (photo No. 4).
All four paintings are done on Pastelmat,
with a dry value underpainting. I use a
variety of hard and soft pastels,
Rembrandts, Winsor&Newtons,
Petersburg, Unison, Sennelier and Blue
Earth. I often start with the harder ones,
then go for the softer, and often blend
with a hard cont stick. Finishing touches
are carried out with the softest ones!

Picture 2

composing their own motifs will also find

material here. I wanted to show these
possibilities with my series of Lake
paintings.
I liked Dorotheas photo of the alpine
lake. It was perfect to create something
a little different from, and still maintain
the original image to some degree.
First, I changed the picture to a portrait
orientation. I cropped the picture, in
other words.

Picture 3

I hope this can inspire someone to

attempt a similar project. Do not just
copy, but learn to use simple means, such
as changing the colour scheme, cropping
the subject, add or leave out details, etc.
to change the subject into something
that is your own interpretation.
Thank you very much for choosing my
Lake series!
Annika

Picture 4

P a g e

1 2

Barbara Jaenicke PSA

By

Dorothea Schulz
Barbara Jaenicke PSA is a well-known American landscape painter. She was born in New Jersey in 1964.
After studying art she worked as an art director and in corporate marketing. In 2002 she became a full-time
artist and art instructor . Her style is representational, with a colorists approach.
I was able to see her work during the IAPS convention when she gave a 3-hour demonstration about colour
harmony in the landscape.
When working en plein air, Barbara paints only sketches, setting down the light, temperature, colour family,
and takes photos. She creates no thumbnails on location.
When in the studio, she crops the digital image as a first step in her compositional process. She also lightens
the dark areas in the photo to get more information. Then she prints it out in black and white.
Barbara always starts with thumbnails to map out the placement of the main shapes und to decide on her
centre of interest. Using the rule of thirds, she moves tracing paper over a B/W print-out of her reference
photo until she has placed her focal point. Then she traces the main shapes. She shifts lines and masses until
she is satisfied with the composition.
The set-up; line tracing, value sketch, small preparatory painting, reference photo

The underpainting
For this demo piece, Barbara uses Uart 400 paper taped to foam board. She transfers her design using a
pastel pencil. Then she blocks in the big shapes with a small selection of hard pastels. She puts in the major
values in strong colours (dark-blue, violet, red-orange, peach) which are nowhere near the local colour. Also
all values she uses are darker than the original. She makes an underpainting using a bristle brush and
rubbing alcohol. By carefully dabbing on the alcohol (no scrubbing or smoothing it out) and letting the liquid
create the edges, she keeps the colours separate. By maneuvering the brush, she puts in more detail like
tree shapes or bushes. She repeatedly squints to make sure everything is in place.

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

1 3

The painting process

Barbara starts with colour guesses to see which match the mood she wants to express in her painting. She puts them
down on a piece of the same paper she uses as her support. She selects a limited palette, normally about 30 max, and
tries to stay in the same colour family, sometimes adding nuances of the same colour (lighter, darker, warmer, cooler).
Barbara introduces her lightest light early on. She uses darks sparingly; the darkest darks are mainly in the underpainting
and are already as dark as they will get.
When everything is covered, Barbara starts to jump around from area to area. She always tries to use the same colour in
other parts of the painting before using a new one. She constantly compares value and temperature.
She tries to create eye catchers to make the composition more fluent, sometimes by introducing more than one focal
point.
Barbara doesnt blend except to soften edges. She finds this gives a more painterly, impressionist approach. She wants
her marks to stay visible. There is always too much information in a photo; she tries to use it sparingly, just as much as is
necessary. Most elements e.g. tree trunks or sky holes need only be indicated, the viewers brain supplies the rest.

With thanks to Barbara Jaenicke for her permission to use the photos

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

1 4

A Workshop in Finland with Karen Margulis

By

Ruth Mann
I had been looking forward to this
for so long. In July I set off for
Finland with a small selection of
pastels and lots of paper in
different sizes, sandwiched
between two pieces of foam core
which would double as drawing
boards. In Helsinki I met Karen and
one of the students, Anita, who had
travelled from the USA, and we
took the train to Vaasa, where we
were met by the workshop
organiser, PGE member and friend
Annika stman .
I had been to Annikas family
summer house before so I knew
just how wonderful it is there. It
has its own beach and slice of the
Baltic sea. I even swam while there.
The water was cold though! Each
evening the sunset lasted for hours
and it never got completely dark, so
different from the UK, even in
Midsummer.
The workshop ran for 4 days and
we all soon realised just what a
great and inspiring teacher Karen
is! She did many demos for us
during the course of the workshop
and it was wonderful to see how
she paints and at the same time
learn some of her methods, tricks
and tips to take to our own work.
We learned the advantages of
doing thumbnail value studies and
tiny colour sketches to give us the
starting point for a painting. I used
reference photos I took while in
Finland and found it so freeing to
plan a piece of work from a photo
the size of a thumbnail on my
camera screen! Once the thumbnail
and the sketch were done I could
turn the camera off and work from
those and from memory.
T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

1 5

Karen gave us hints and tips about

underpaintings, creating depth,
foregrounds and visual paths, using
greens, painting skies and many
other things. She regularly came
round while we were working and
gave me some excellent advice on
my own work.
Over two days we went out plein
air painting, once to Vaasa inner
harbour and once to Bjorkoby, a
beautiful place within the Kvarken
archipelago where the land is rising,
making the former boathouses
redundant. Here Karen did a demo
from a scene which looked quite
ordinary but she made it her own
and she made it exciting! She also
gave us some tips for plein air
painting, for example, pick your
scene ask yourself why you want
to paint it - dont try to put
everything around you into your
painting!
We also had some time to paint
plein air at the summerhouse on a
lovely sunny afternoon and into the
evening. Overall I had a wonderful
time and learned a lot from Karen
who is an excellent and enthusiastic
teacher.
The icing on the cake was the
opportunity to meet and get to
know no less than 4 PGE members I
had not previously met, as well as
Karen and Anita and renewing my
acquaintance with Annika and
other friends from Finland. What a
fine group we were!

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

1 6

NEWS ITEMS

Annika stman is hosting the following workshop, for more information

please visit https://workshopvasa.wordpress.com/
6 9. August 2016 with Tony Allain
The workshop will take place at Alskathemmet, a Summer Camp
House belonging to the Evangelic Lutheran Parish Union of Vaasa.
Alskathemmet is situated in Alskat, 15 minutes by car outside the city
of Vasa, right on the edge of the Unicef World Heritage Kvarken
Archipelago.

DOLORES SAUL

Honu

Uart Pastel paper manufacturers are having a stall at the

Creativeworld Frankfurt from January30th until February
2nd 2016. Our member Dolores Saul has been selected to
demonstrate the use of their papers during the exhibition.
Uart say: Theres nothing we enjoy more than meeting face
-to-face with the artists who use UART sanded art paper.
And seeing how pleasantly surprised artists are when they
get their hands on UART pastel paper for the first time.
Please stop by the UART booth at any of the upcoming
conferences and trade shows to receive your sample of
UART paper, learn tips and techniques direct from our
partner artists, and talk with us about the challenges you
face with your current art paper brand. Once you touch,
feel and try our pastel paper and pastel boards, youll
quickly discover how dedicated UART is to providing a
quality product to todays artists.
Any of you in the area, please pop in and support Dolores.
CreativeWorld
Messe Frankfurt
Ludwig-Erhard-Anlage 1
60327 Frankfurt am Main

Rain in Paja

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

1 7

Paint Draw Blend feature our member Carmen Griehl-Gro

This week we are featuring a selection of

beautiful animal portraits by German artist
Carmen Griehl-Gro, all created with PanPastel
along with soft pastel sticks and pastel pencils
on PastelCard.

See http://paintdrawblend.com/2015/09/
carmen-griehl-gros/ for the full article

Get Dusty Schedule

'The board has been discussing the Get Dusty competition and its future structure. We've decided
to continue offering a monthly competition but to move away from the fixed categories and try a broader approach.
2015 will be a year of experiments; have a look at the exciting challenges we will offer in the coming months!'

The Schedule
SEPTEMBER: Category: UnclassifiedTheme, Bad weather. Deadline 25th September 2015
CommentA landscape, seascape, skyscape or cityscape in rain, fog, snowstorm.
OCTOBER: Category, AnimalsTheme, Animals in their natural habitat. Deadline 25th October 2015
CommentFor example, frogs in a pond, a dragonfly on a water lily, a lion in the savannah etc.
NOVEMBER: Category, Still lifeTheme, Florals. Deadline 25th November 2015
CommentCan be flowers in a field, park or garden, or a close up of a bloom. Must not contain pots/vases etc.
December: Winter Free choice. Deadline 25th February 2016
CommentUse you Christmas gift pastels to produce a stunning work of art.

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

1 8

Summer Get Dusty Entries

These are the Summer Get Dusty entries that did not quite make the Judges final selection. All the entrants
are to be congratulated for their very fine efforts which served to ensure the Judges decision would not be
an easy one. The category was a straight forward open one giving plenty of scope for the entrants.

Common blue

eye_of_the_beholder
Ole Hedeager

Dar Windflchter no 26
Frank M Schwietzer

Finland memory
Ruth Mann

Crazy bamboos!
Marie France Oosterhof

Hoiiday on Hiddensee
Elke Stegmann

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

1 9

Orchard Blossom
Mary Ellen Brown

Le Loup
Ghislaine Fabre
Only the Lonely
Mary Ellen Brown

Sunny sid up
Dorothea Schulz

Schattenspender
Ute hansen
Too late for pina colada
Marie France Oosterhof

Segeln II
Dolores Saul

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

2 0

Heideweg
Ute Hanson

New Mexico sunrise

Dorothea Schulz

Flat land
Annika Ostman

A Bowl of Cherries
Kerstin Birk

Surfin Hookipa
Dolores Saul

Cocktails
Sven Kinader

Test
Yvonne Jensen

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

2 1

Ref;ections
Annika Ostman

Three colours
Kerstin Birk

The Lion cub

Alina Budnitzki

Conversation Indienne
Ghislaine Fabre

Kirkstone pass
Jim Humphreys

Fusion Finery
Mary Ellen Brown

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

P a g e

2 2

Skagen
Ute hansen

Poppy Parade
Jim Humphreys

Aspen
Annika Ostman

Wastwater
Jkim Humphreys

T h e

P a s t e l

S c r i b b l e r

Return to PAGE 2

An Fenster
Alina Budnitzki

Deep Purple
Dorothea Schulz

Mecklenburger See
Ellke Stegmann

P a g e

2 3