{"id":28874,"date":"2023-11-17T10:36:38","date_gmt":"2023-11-17T18:36:38","guid":{"rendered":"https:\/\/www.howtopastel.com\/?p=28874"},"modified":"2023-11-17T10:36:42","modified_gmt":"2023-11-17T18:36:42","slug":"david-shkolny-laser-focused-in-the-landscape","status":"publish","type":"post","link":"https:\/\/www.howtopastel.com\/2023\/11\/david-shkolny-laser-focused-in-the-landscape\/","title":{"rendered":"David Shkolny – Laser Focused In The Landscape"},"content":{"rendered":"\n

Our guest this month – David Shkolny – only came to my attention a couple of years ago. I think I was only slightly aware of his work when I noticed that he would be teaching at MISSA<\/a> that summer. A pastel artist teaching at Metchosin International Summer School of the Arts? – yay! And, I loved what I saw of his work! That was when I got reeeeeaaally curious and went searching for more of his art. And oh my! I was blown away by the energy and bold mark-making he brings to a landscape. I couldn\u2019t wait to bring his work to you! Happily, David accepted my invitation and so let\u2019s jump in.<\/p>\n\n\n\n\n\n\n\n

But first, a wee bit about him plus a sample of his work!<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"David<\/a>
David Shkolny, Chickakoo Fall, 2018, Unison Colour and Terry Ludwig on Wallis Belgian Mist paper, 9 x 12. Sold. Strong Group of Seven\/Tom Thomson vibe happening here. Lost and found edges and negative space play are my jam.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

David Shkolny Bio<\/strong><\/h4>\n\n\n\n
<\/div>\n\n\n\n

David Shkolny (BFA, NSCAD 1992) has been painting landscapes for almost forty years. With more than twenty years of experience teaching, including painting holidays in Italy, he loves to share his experience working in the captivating medium of pastel. David\u2019s studio is based in Edmonton, Alberta. Make sure to check out his Instagram account<\/a>.<\/p>\n\n\n\n

And now, here\u2019s David!  <\/p>\n\n\n\n

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

My history with soft pastels goes back to the late eighties when I was a student at Red Deer College, Alberta, Canada. I was hooked as soon as I tried my Rembrandt pastels on Canson Mi-Teintes paper! What I liked most was how the colour of the paper was a visible and substantial part of the final piece, and how it seemed to harmonize everything by being a little bit everywhere. That has stuck with me.<\/p>\n\n\n\n

Fast forward to the early 2000s, when I resumed working in pastel after a hiatus of a few years and was intrigued by the articles I\u2019d been reading in Pastel Journal<\/a> <\/em>about sanded paper and how much those artists\u2019 work looked like paintings. A painterly pastel!\u00a0<\/p>\n\n\n\n

I tried a few different papers, but settled on Wallis as my favourite – it had just the right grittiness I wanted. What I learned through trial and error that differed from my work on Canson was how to moderate the pressure I was using in my pastel strokes, particularly in the initial stages. <\/p>\n\n\n\n

<\/div>\n\n\n\n
\"David<\/a>
David Shkolny, Grove, 2014, Unison Colour and Terry Ludwig on Wallis Belgian Mist paper, 9 x 12. Sold. I\u2019m attracted to landscapes that are backlit – it creates interesting contrast and negative shapes amongst trees, i.e. \u201csky holes.\u201d<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

I had found if I was heavy-handed early in the piece, the tooth of the paper filled quickly and limited the range of texture and colour that could be applied. If too much pastel was on the surface, attempting more layers made it muddy and the pastel sort of \u201cswam\u201d on the surface in an unpleasant way. Like a lot of artists, my biggest disappointment is overworking a piece. <\/p>\n\n\n\n

I also upgraded my pastels to first Unison Colour with their 72-piece landscape set and some time after that, a few smaller sets of Terry Ludwig. Then, to a lesser extent, Sennelier, Schmincke, and Nupastel (great for underpainting by the way) rounded out my rapidly growing palette of pastels.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"David<\/a>
David Shkolny, Penny Blue, 2014, Unison Colour and Terry Ludwig on Wallis Belgian Mist paper, 24 x 36. Sold. One of my biggest pastels. Trampled and\/or melting snow can arguably be more interesting than the pristine powder. I like the way the muted warm hues seem more rich next to the cool blue shadows of the snow.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Unison Colour, besides having an excellent range of colour, has a great consistency, somehow not too soft or hard. Ludwigs have the advantage of squared edges which add to the choreograph of strokes. They also have an amazing range of dark darks. This isn\u2019t common amongst a lot of brands as these pastel sticks are generally more expensive to manufacture, having mostly only pigment and binder as their ingredients.<\/p>\n\n\n\n

My pastel landscapes begin with a light charcoal drawing, limning the essence of the landscape. Subsequent layering and erasing of pastel bring colour and life and offer suggestions for further exploration. Experimentation ensues by \u201cunderpainting\u201d with pastel and then sealing the loosely blocked in pastel shapes with isopropyl alcohol and a brush. <\/p>\n\n\n\n

<\/div>\n\n\n\n
\"David<\/a>
David Shkolny, Pond Life, 2014, Unison Colour and Terry Ludwig on Wallis Belgian Mist paper, 9 x 12. Sold. This piece has a lot of the paper exposed (the warm brown grey) achieved in part by \u201cerasing\u201d bits of the pastel with a pressurized air can. I employ this when I want to abstract the landscape and create texture.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Careful not to lay down too much pastel as this would also clog up the paper, I find delightful, the unexpected textures, splashes and drips that can appear on the surface of the paper. Oftentimes they became a significant element in the finished piece (and harked back to my earlier experience of the paper showing through) after working on top of it with the dry pastel.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"David<\/a>
David Shkolny, Eden, 2013, Unison Colour and Terry Ludwig, vine charcoal, pressurized air propellant on Wallis Belgian Mist paper, 10 x 11. Sold.  I generously doused this one with water as well as creating the crystal like textures in the upper part by letting propellant drip from the pressurized air can.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

The next three landscapes are from a commission I received – they are based on photos provided by the client. The photos were really moody and evocative and I enjoyed the challenge of interpreting them. Each painting has a ground toned in a warm brown and you can see it in the sky and water coming through.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"David<\/a>
David Shkolny, Abraham Lake, 2023, Unison Colour, Terry Ludwig, and Sennelier on Wallis white sanded paper, 12 x 16. Sold. <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\"David<\/a>
David Shkolny, Coral Creek Canyon, 2023, Unison Colour, Terry Ludwig, and Sennelier on Wallis white sanded paper, 12 x 16. Sold.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\"David<\/a>
David Shkolny, Mount Kerkeslin, 2023, Unison Colour, Terry Ludwig, and Sennelier on Wallis white sanded paper, 12 x 16. Sold.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Let me take you through the progression of a piece.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Photo<\/a>
Photo for \u201cEast of Fort Sask\u201d, 2023<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

In this photo, I liked how I could see some of the same kind of purples in the foreground as in the buildings so I thought it would be a good way to harmonize the composition by using the purple grey ground as a starting point. Additionally, it would simplify how I would approach doing the buildings, as it would be easy to add too much and make them too busy with all the detail apparent. <\/p>\n\n\n\n

After putting some strokes of purple grey pastel on the white, sanded paper, I proceeded to dip a brush in isopropyl alcohol and melt the pastel into a somewhat uniform tone.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"purple<\/a>
purple toned paper<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

When the alcohol ground dried, I sketched in the shapes with vine charcoal, and proceeded to start with the sky colours – somewhat practical as the pastel dust can filter down to lower parts of the picture. I also like to use the sky as negative space to create the edges of the buildings and trees and take the opportunity to make small refinements in the shapes. A little dark purple to start on the buildings and model the subtle light and shadow on them.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"sketched<\/a>
sketched in<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Adding some greens to the ground area to show some perspective lines and keeping them all around the same values, with a little variation so they sit together in space and don\u2019t pop out too much. More work on the buildings – a little more negative space and some lighter hues in blue and lighter purple. Smaller tree added to the right side of the roof as I was a bit concerned about the readability of the other trees and wanted to make it more asymmetrical.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"green<\/a>
green added<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Finally, some bits of the ground reflecting the sky to finish it off and a decision not to fill the foreground in completely, but leave it open and more \u201csketchy\u201d. I like how there\u2019s some surface tension created by the verticality of the original drippy ground contrasted with the grassy area marks and how it leads the eye into the buildings. It\u2019s tempting to blend the sky, but I restrain myself so the texture harmonizes with the rest of the picture.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"David<\/a>
David Shkolny, East of Fort Sask, 2023, Unison Colour and Terry Ludwig on Wallis white sanded paper, 9 x 12. Available.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Painting en plein air in mid-summer in the prairies. There\u2019s no shortage of canary yellow fields of canola to inspire. <\/p>\n\n\n\n

In this one, I uncharacteristically used a cooler blue green ground instead of my usual warm ground. The resulting palette is more acidic.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"David<\/a>
David Shkolny, West Canola, 2023, Unison Colour, Terry Ludwig, and Sennelier on Wallis white sanded paper, 8 x 12. Sold.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\"View<\/a>
View with “West Canola” <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

It goes without saying that the experience of working en plein air is challenging (bugs, weather, changing light, people!) but exhilarating. It can\u2019t be matched by the relative comfort of working from a photo. When I\u2019m outside I feel a greater urgency, which often presses the right buttons to create fresh work. However, most of the work here, unless stated otherwise, is created by photos I take. When I get to work using these photos, I put myself in a mindset of being<\/em> on location. <\/p>\n\n\n\n

Once I begin a pastel, having practiced for many years, I feel I enter a zone that\u2019s somehow protected from my environment. I become laser focused and I could very well be in the middle of an airport or a field – the concentration and decision-making is the same. I love to lose myself in the work, no matter where I am.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"David<\/a>
David Shkolny, Nordegg Blues, 2017, Unison Colour and Terry Ludwig on Wallis Belgian Mist paper, 9 x 12. Sold. A frenetic explosion of strokes, but at the same time a quiet energy, and a sense of containment within the composition, using the edge of the frame to halt the verticals and lead the eye back into the picture.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

If I had any advice to give landscape artists it would be to put into practice useful habits that settle and quiet the mind when beginning so you at least feel safe to enter a state of creation. For me, it\u2019s as simple as blocking in shapes with my vine charcoal and preparing a ground I think will work well with my subject. Experience has also taught me that \u201chappy accidents\u201d hold potential for growth in one\u2019s work.<\/p>\n\n\n\n

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

Exciting landscapes right??<\/p>\n\n\n\n

I can’t wait for artist David Shkolny to hear your thoughts, comments, and questions about his work!<\/p>\n\n\n\n

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

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

<\/div>\n","protected":false},"excerpt":{"rendered":"

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