{"id":26876,"date":"2023-03-17T10:49:07","date_gmt":"2023-03-17T17:49:07","guid":{"rendered":"https:\/\/www.howtopastel.com\/?p=26876"},"modified":"2023-03-17T10:51:53","modified_gmt":"2023-03-17T17:51:53","slug":"carol-strock-wasson-mastering-the-greyscale","status":"publish","type":"post","link":"https:\/\/www.howtopastel.com\/2023\/03\/carol-strock-wasson-mastering-the-greyscale\/","title":{"rendered":"Carol Strock Wasson – Mastering The Greyscale"},"content":{"rendered":"\n

Carol Strock Wasson. She’s an artist I’ve watched for a number of years, marvelling at her close-in-value landscapes that always grab my attention. I’d written about her work twice in my monthly roundups. (You can see and read them here<\/a> and here<\/a>.) Intrigued as I am with her work, I knew it was about time that I invited her to be a guest on HowToPastel! I was delighted when she said yes, and even more delighted when I read her submission. You are in for a visual and learning treat. Get your pen and notebook out!<\/p>\n\n\n\n

Don’t know her work? Here’s a piece that blew me away at the last IAPS show in Albuquerque in 2022. Be sure to note the size!<\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Glare, 2022, Mount Vision, Unison Colour, Blue Earth pastels on mounted UART 320, 30×40 in. Available. Based on a plein air colour note with the idea of capturing the feel of the glare of light.<\/figcaption><\/figure>\n\n\n\n
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Before I hand over the blog, here’s a wee bit about Carol Strock Wasson!<\/p>\n\n\n\n

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BIO for Carol Strock Wasson <\/h4>\n\n\n\n

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Carol Strock Wasson is a signature and master member of many well-known pastel organizations. She is focused on painting with spontaneity and freshness using the pastel medium. Her paintings are deeply rooted in the rural area she lives in. You can find more of her work here on her website<\/a>. <\/p>\n\n\n\n

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And now, here is Carol Strock Wasson to share her wisdom!<\/p>\n\n\n\n

~~~~~<\/p>\n\n\n\n

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My History<\/h5>\n\n\n\n

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I never intended to be an artist. After all, as my parents said, \u201cHow can you support yourself?\u201d I was happily attending college on my career path in Chemical Engineering when I suddenly became very ill and was diagnosed with type 1 diabetes. With that twist in the road, my life changed dramatically and my artistic self took over. I feel fortunate to still be alive and painting after 47 years of the disease. <\/p>\n\n\n\n

I first started painting en plein air before it was popular. I would often be out by myself along the side of the road. The experience taught me about colour, value, shape, design, and most of all, the light and capturing the feel of the light. Being out in the open air, seeing, hearing, and painting the colour of the light made me feel a part of the landscape as if I belonged in this world. Because my paintings are so deeply rooted in the environment, they often reflect the rural area I live in. <\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Summer Fog, 2022, pastel on UART 400,6×8 in. Available. Done en plein air <\/figcaption><\/figure>\n\n\n\n
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Over the years. I have experimented with many different mediums but I keep returning to pastel. Other mediums become unworkable over time, but pastels can be picked up and restarted with ease even years later. I love the vibrancy and simplicity of pastels. They are applied directly to the surface of the painting and mixing is done there, not on the palette. Results and corrections can be made immediately. Pastels are also so versatile. You can underpaint or overpaint with just about any other medium and continue to apply pastel. <\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Glow, 2023, Mount Vision, Unison Colour, Blue Earth pastel on mounted UART 320, 18×18 in. Available. Based on plein air studies, photos. Capturing that time of day when the light is setting or rising quickly is tricky. It is a fleeting moment of time.<\/figcaption><\/figure>\n\n\n\n
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New Ideas On Seeing Value <\/h5>\n\n\n\n

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For the last several years I have been incorporating the idea of limited, controlled value as an essential tool of my painting. Most artists know and use the colour wheel and it is an important tool. Understanding the value (lightness and darkness) of a colour and how it affects the painting to give the mood and atmosphere is a greater tool. We all know the quote, \u201cValue does the work, but colour gets the glory.\u201d I like to work with that thought, exploring how value works. Through colour theory books and other artists, I learned the power of controlling and limiting the values in my paintings.<\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Spring Haze, 2022, pastel on UART 320, 16×20 in. Available. Studio painting after plein air<\/figcaption><\/figure>\n\n\n\n
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Another quote that goes along with limitations is, \u201cCreativity thrives within constraints.\u201c We would not use every colour in the colour wheel and the same goes for value. Learn to limit your values!<\/p>\n\n\n\n

One of the best tools I use to control my value is a Gray Scale and Value Finder<\/a>, available at any art store or online. If you don\u2019t have a Grayscale and Value Finder, it\u2019s easy to make one. I\u2019ve made many over the years in oil and pastel. <\/p>\n\n\n\n

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\"Value<\/a><\/figure>\n\n\n\n
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To find the value of any colour, hold the value scale over the colour and squint. If the value is not correct, you will see a noticeable difference between the two. If the value and colour are correct, the two will almost read as one. <\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Blizzard Warning, 2023, Unison Colour, Mount Vision, Blue Earth pastel on UART 320 using various tools, clear gesso, and brayers, 24×26 in. Available. The idea for this painting came during a high wind advisory with snow after the first of the year. <\/figcaption><\/figure>\n\n\n\n
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I sort my pastels by value, very light, light, medium, dark and very dark, I learned this from Susan Kuznitsky. This helps me since I paint by value not color. I used to keep them in Tupperware bins but recently I built my own value box with the 5 values. Each bin measures 18×28 in and is filled with cornmeal to keep them separated. Cornmeal also cleans the pastels. I purchased a 50lb bag through Amazon.<\/p>\n\n\n\n

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\"Large<\/a>
Large Studio Pastel box. I use this in my studio. Pastels are sorted into five values. What colour I choose depends on the value that I want. I use many different pastel companies, Unison Colour, Great American, Terry Ludwig, and Mount Vision are my favourites. When I pick up a pastel, I can generally tell you what company made it. On another table I keep a set of Blue Earth, Sennelier, and Girault. I like to keep these separate from the others.<\/figcaption><\/figure>\n\n\n\n
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\"Plein<\/a>
Plein Air box for plein air work. This is one of the boxes I have, – values are sorted into five values – very light, light, medium, dark, very dark. I use a variety of different pastels to fill my box – Mount Vision, Terry Ludwig, etc. I don\u2019t base my choice on the manufacturer but rather on the value I need. There is also a slot for neutrals which I use to control the intensity of a colour. This is a Heilman Backpack Pastel box.<\/figcaption><\/figure>\n\n\n\n
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My Process<\/h5>\n\n\n\n

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1. What is the Big Idea<\/p>\n\n\n\n

My larger studio paintings start with what I call \u201cThe Big Idea.\u201d This is an idea that excites me. Sometimes it begins with a dream or by looking at another artist’s work or even observation while painting en plein air. The big idea will usually humble me in my realization of my poor attempts to paint.  <\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Hazy Grain Bins, 2020, pastel on UART 400 mounted, 30×40 in. Sold. Painted in studio after plein air and observation<\/figcaption><\/figure>\n\n\n\n
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2. Work, Work, Work<\/p>\n\n\n\n

Next comes all the work. The grey scale value finder and the colour wheel are important parts of this process. <\/p>\n\n\n\n

I make multiple thumbnails to define the composition, value notes to find my value harmony, colour notes and colour experiments to figure out what colour harmony is best. Sometimes just a few will do. Other times, it takes many dozens before I feel ready to tackle the idea in a large format. I am always asking: What if I do this? What if I tweaked it just a little more? How far can I push my values?<\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Red Dawn, 2022, pastel on UART 320, 12×18 in. Available. Demo painting for a class taught about \u201cPowerful Painting\u201d<\/figcaption><\/figure>\n\n\n\n
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3. Destroy and Recreate<\/p>\n\n\n\n

After I decide I\u2019m ready to start a painting, I sketch in the shapes lightly and gently apply colour of the appropriate value and colour harmony. A light gentle touch to start.<\/p>\n\n\n\n

It\u2019s important to remember not to fall in love with your painting during the process. Always be ready to destroy and recreate, destroy and recreate, until the painting is complete.<\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Cloud Maker , 2022, Great American pastels, Mount Vision pastels from my value box on UART 320 using various tools, brayers, and squeegees, 15×28 in. Available. I\u2019ve watched this scene many times, and plan on painting many more of how the light affects the steam coming out of the Ethanol plant.<\/figcaption><\/figure>\n\n\n\n
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\u201cAttempt what is not certain. Certainty may or may not come later. It may be a valuable delusion.\u201d <\/em><\/p>\n~ Richard Diebenkorn<\/cite><\/blockquote>\n\n\n\n

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4. Pastels are not Delicate.<\/p>\n\n\n\n

Many people think that pastel is delicate and dainty but not in my world. I use many tools when painting – brayers, squeegees, clear gesso, big brushes, clear gesso, sprays, sticks, stones, etc. All the different tools help to add the layers of pastel that I need to destroy and recreate to create the atmosphere I strive for. I use these tools in underpainting and overpainting, sometimes all over, sometimes only in certain areas. <\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Sunset Reflections, 2022, pastel on mounted UART 320 with brayers and squeegees and tools. With this painting, I qualified for Pastel Society of America Master<\/figcaption><\/figure>\n\n\n\n
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Here are some tips I follow<\/h5>\n\n\n\n

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1. Change Your Photos To Greyscale.<\/p>\n\n\n\n

When I am painting in the studio from photos, I always change my photos to grayscale. Photos will lie to you about colour and value and you must be aware of what those lies are and how to avoid them. I pick my colour harmony and value harmony based on observation made en plein air, on imagination, and on knowledge of colour theory learned over the years. I use photos mainly for detail interpretation. <\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Last Light, 2021, pastel on mounted UART 400, 36×36 in. Available. Part of a series capturing the last light of the day<\/figcaption><\/figure>\n\n\n\n
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2. The Power of Value<\/p>\n\n\n\n

The power of understanding the value of a colour comes when working when you use two or three colours of the same or close in value, side by side or dragged over each other within a shape. I love moving up close to a painting I\u2019m working on and seeing the interaction of all the colours. <\/p>\n\n\n\n

I have a love of close-value paintings and the idea of things seen and not seen until closer examination. This is one of the beauties of working close in value. I love to slip in small value changes to create illusions of something there.<\/p>\n\n\n\n

I always ask myself how close I can go in value and still interpret the landscape – what surprises can be revealed upon closer examination? The viewer can look at some of my hazier paintings and perhaps see more using their own imagination. <\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Dissipating Winter Haze, 2022, Blue Earth, Mount Vision, Unison Colour pastels on UART 320 mounted board, 36×36 in. Sold. This idea started as a plein air but using my grey value scale, I made a larger studio painting keeping the values close <\/figcaption><\/figure>\n\n\n\n
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3. Create Historical Files On Artists<\/p>\n\n\n\n

Knowledge of historical artists is an important aspect of painting. History is the base upon which we paint. We should know how masters of the past thought and worked and solved problems. We deal with the same problems they did. <\/p>\n\n\n\n

Over the years I have collected many great books. (See the list of some at the end of this post.). On my computer, I collect files of master artists that I refer back to constantly. These are artists who are deceased and whose work has stood the test of time. <\/p>\n\n\n\n

Looking up artists and reading about their techniques has improved and inspired my own work. One of the things I have discovered in looking at historical artists is that women were just as good as men, but we rarely hear who those women were.<\/p>\n\n\n\n

 Whenever I am in an I-don\u2019t-feel-like-painting mood, I will copy a master painting. Doing this serves two purposes: it keeps me thinking about art and it keeps me pushing my technical skills. <\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson. Morning Light, 2022, pastel on UART 320, 8×10 in. Available. Demo painting for a class on value<\/figcaption><\/figure>\n\n\n\n
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4. Habits of Effective Artists<\/p>\n\n\n\n

I work at painting or looking at art every day. <\/p>\n\n\n\n

I always do my daily work. <\/p>\n\n\n\n

I don\u2019t let anyone or anything get in the way of doing my painting. I consider painting my work. <\/em>It\u2019s a job that I must show up for, it\u2019s never a hobby. <\/p>\n\n\n\n

Developing a schedule for creativity is important. The brain likes habits. So develop a painting habit. Every day at the same time every morning is my most creative time.<\/p>\n\n\n\n

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\u201cThe advice I like to give young artists, or really anybody who\u2019ll listen to me, is not to\u00a0wait\u00a0around\u00a0for\u00a0inspiration. Inspiration is for amateurs; the rest of us just show up and get to work.<\/em>\u201d <\/p>\n~ Chuck Close<\/cite><\/blockquote>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Silent Night, 2022 pastel on UART 320, 8×10 in. Available. Demo painting for a class on value<\/figcaption><\/figure>\n\n\n\n
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5. Find Your Tribe<\/p>\n\n\n\n

I am from a small rural town where it\u2019s hard to find people who are as passionate about art as I am. One of my past mentors, Robert Farlow, once told me that we need to find our community, our tribe to grow as artists. When I became a member of Indiana Plein air Painters, I became part of a tribe, something bigger than myself. Now, thanks to Zoom and the internet, I have many other connections – PSA, PSWC, IAPS, CPP – where I am part of an even larger community, where ideas are shared and connections are made.<\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Spring Morning Fog, 2019, pastel on UART 400, 16×29 in. Sold. Started plein air, finished in studio<\/figcaption><\/figure>\n\n\n\n
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6. Find Your Own Space<\/p>\n\n\n\n

Have your own area to paint, something that gives ample space to spread out and grow. Have an area that you can keep as clean or as messy as you want.<\/p>\n\n\n\n

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7. There\u2019s An App For Everything<\/p>\n\n\n\n

Some days, due to travel or sitting in an office waiting, you just can\u2019t paint. For those days, I still exercise my artistic brain with this game that hones my colour skills: Blendoku<\/a>. I even wrote a blog post, \u201cCommand of Color,<\/a>\u201d on how I use Blendoku in painting. There’s also an online game at samesame od different<\/a>. <\/p>\n\n\n\n

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\"Carol<\/a>
Carol Strock Wasson, Winter Haze, 2023, Pan Pastel and Blue Earth pastels over a monotype print. Working over monotypes is new and exciting. I struggle to know when to stop, allowing just enough of the print to show through the pastel<\/figcaption><\/figure>\n\n\n\n
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Here are a few images showing some of my process – value and colour studies.<\/p>\n\n\n\n

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Value studies 1 and 2 are starts of studies to develop a painting idea. I use the grey scale to make the values come closer together. I am no longer referring back to the photo but looking at the value scale to make changes, concentrating on keeping the values close. At this point its debatable whether it will develop further.<\/p>\n\n\n\n

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\"Value<\/a><\/figure>\n\n\n\n
\"Color<\/a><\/figure>\n<\/figure>\n\n\n\n
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Value Study for barn 1: Using a wider range of values I can achieve the contrast to create a sunny day. <\/p>\n\n\n\n

Colour Note Study for Barn 1, Complement blue\/orange: Staying with the values picked out in the value study, colour is added in the blue and orange colour harmony of complement.<\/p>\n\n\n\n

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\"Value<\/a><\/figure>\n\n\n\n
\"Colour<\/a><\/figure>\n<\/figure>\n\n\n\n
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Value Study for barn 2 dark values: If I stay in the darker areas of the value scale I can get achieve the feel of a moonlit night<\/p>\n\n\n\n

Colour Note Study for Barn 2 Analogous cool:  I used the analogous colours of blue, green, violet in the darker values to get the cool feel of the night<\/p>\n\n\n\n

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\"Value<\/a><\/figure>\n\n\n\n
\"Color<\/a><\/figure>\n<\/figure>\n\n\n\n
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Value study for barn 3 light values: I think this is one of the hardest value study, I am trying to get the feel of a foggy morning, all values become lighter. It\u2019s difficult to stay in that range.<\/p>\n\n\n\n

Colour Note Study for Barn 3 Triad: Colours tend to lose their identity when the values are so light. Any colours could be used. I decided to use the colour harmony of orange, green, violet Triad.<\/p>\n\n\n\n

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*****<\/p>\n\n\n\n

Here’s a list of recommended books from Carol Strock Wasson:<\/p>\n\n\n\n

<\/p>\n\n\n\n

Landscape Painting by Mitchell Albala<\/a><\/p>\n\n\n\n

The Landscape Painters Workbook by Mitchell Albala<\/a><\/p>\n\n\n\n

Interaction of Color by Josef Albers<\/a><\/p>\n\n\n\n

The Elements of Color by Johannes Itten<\/p>\n\n\n\n

A History of American Tonalism 1880-1920 by David Cleveland<\/a><\/p>\n\n\n\n

Carlson\u2019s Guide to Landscape Painting by John F Carlson<\/a><\/p>\n\n\n\n

How to see Color and Paint it by Arthur Stern<\/a><\/p>\n\n\n\n

******<\/p>\n\n\n\n

Now it’s time for you to let us know what you think! We’d love to hear your thoughts and questions!<\/p>\n\n\n\n

A HUGE thank you to Carol Strock Wasson for all these beautiful images and nuggets of wisdom. Pay attention. Lots to learn from here!!<\/p>\n\n\n\n

Until next time,<\/p>\n\n\n\n

~ Gail<\/p>\n\n\n\n

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