{"id":29583,"date":"2024-02-23T10:15:42","date_gmt":"2024-02-23T18:15:42","guid":{"rendered":"https:\/\/www.howtopastel.com\/?p=29583"},"modified":"2024-02-23T17:46:30","modified_gmt":"2024-02-24T01:46:30","slug":"allison-krajcik-getting-that-inner-glow","status":"publish","type":"post","link":"https:\/\/www.howtopastel.com\/2024\/02\/allison-krajcik-getting-that-inner-glow\/","title":{"rendered":"Allison Krajcik – Getting That Inner Glow"},"content":{"rendered":"\n

I first encountered guest Allison Krajcik when I saw the piece she\u2019d entered in the 2022 Pastel Society of New Hampshire exhibition. I was the Juror of Selection and I remember being blown away by her entry. So I was delighted when Juror of Awards, Alain Picard, chose her pastel, Time To Go<\/em>, as the Best of Show winner. I completely agreed with Alain when he said, \u201cGreat art makes us feel strongly. This painting aches with feelings of coming to the end of something\u2026Krajcik has created a grand and powerful image.\u201d<\/p>\n\n\n\n

And so you can imagine how excited I am to have Allison Krajcik as a guest! Following up on the subject of her winning painting, I asked Allison if she would create a post about florals and she suggested that she could talk about colour and \u201cgetting that inner glow.\u201d And here we are with that topic for your enjoyment!\u00a0<\/p>\n\n\n\n\n\n\n\n

Don\u2019t know Allison\u2019s work? Here\u2019s a wee taster!<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Allison<\/a>
Allison Krajcik, Chorus in Pink, 2023, Various soft pastels on UART 400 grit paper with alcohol washes, 11 \u00bd  x 15 3\/16 in. Two of my studio skylights face south, thankfully, and I can set up a still life in the sun and work for a couple of hours each afternoon. These supermarket tulips had me dreaming of spring at the end of March.<\/figcaption><\/figure>\n\n\n\n
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First, here\u2019s a wee bit about Allison.<\/p>\n\n\n\n

Bio for Allison Krajcik<\/h3>\n\n\n\n
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At twelve, Allison Krajcik travelled cross-country with her family to visit many of the national parks which inspired her love of the landscape. This experience, coupled with the advice of a high school art teacher, motivated her to pursue a career in fine art and design. After earning a BFA in design, she worked as a colour consultant in her interior design company. She took advantage of the slower work pace with the COVID shut down and began painting in earnest and has now found a balance between the two! Check out more on Allison’s website<\/a>.<\/p>\n\n\n\n

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

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

The combination of working with stained glass for several years after college and creating a perennial garden at our first home prompted my first floral paintings. I have always been attracted to the luminous and translucent qualities of flowers especially when they are backlit by the sun. I began with watercolour partly because it seemed benign and familiar and I figured it would be an easy medium to get into. <\/p>\n\n\n\n

I picked up a few \u201chow to\u201d books and magazines because there was no internet back then and few workshops were available. I really did not know how to handle the medium – you can tell by the lack of colour interaction and luminosity in one of the first watercolour paintings Blazing Poppies. <\/em><\/p>\n\n\n\n

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\"Allison<\/a>
Allison Krajcik, Blazing Poppies, 1996, <\/em>Winsor Newton Watercolours on Arches Watercolour paper, 7 \u00bd x 24 \u00bd in. Collection of the Artist. One of the very first watercolour paintings from a photograph of a neighbour\u2019s garden.
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I began to use the glazing approach with watercolour, laying in primary colours beginning with yellows, then reds and finally blues. I preferred white or light-coloured flowers because they allowed me to be creative with the colour and not have the local colour drive my decisions. <\/p>\n\n\n\n

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\"Allison<\/a>
Allison Krajcik, Apple Blossoms, 1996, Winsor Newton Watercolours on Arches Watercolour paper, 21 x 15 in. One of the earliest watercolours using wet into wet technique.
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\"Allison<\/a>
Allison Krajcik, Porch Light, 1996, Winsor Newton Watercolours on Arches Watercolour paper, 18 \u00bc x 12 \u00bd in.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Turns out certain colours were more challenging! The technique was thoughtful and progressive but I would not describe it as spontaneous in any way, at least not in the way I approached it. <\/p>\n\n\n\n

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\"Allison<\/a>
Allison Krajcik, Floral Still Life with Jars, 1998, Winsor Newton Watercolours on Arches Watercolor paper, 23 \u00be\u201d x 16 \u00be in. Collection of the Artist. I learned a critical lesson about colour in this painting that answered the question \u201cHow do you progress from yellow to blue without creating green?\u201d<\/figcaption><\/figure>\n\n\n\n
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I was in the middle of Floral Still Life with Jars<\/em>, a painting of white spider mums and ball jars. I wanted to emphasise the beautiful, yellow glow, at their centres while maintaining the cool blue edges of the cast shadow on the surrounding petals. Unfortunately, the flower at the top of the painting was becoming brown and muddy so I let it dry and took a step back to try and figure out what was going on. How was I going to move through the shadow from the yellow centre to the deeper blue edge without it turning green or brown? <\/p>\n\n\n\n

I realised I needed a colour to transition in the middle of the two colours. Just like the transition of colours through a rainbow, I would use yellow at the flower\u2019s centre then carefully add red in the middle of the shadow. The red would only mix with the blue and flow toward the outer edge of the cast shadow. I would remember that when all three primary colours overlapped in any way, they would create a neutral or brown. It worked beautifully on the lower flower but now the only problem was how to fix the top muddy bloom!<\/p>\n\n\n\n

Fortunately, I did not have to start all over because I had used 300lb Arches watercolour paper and was able to sand down the surface of the upper flower very carefully when the paper was bone dry. The paper was thick enough so I could try again. I used red as the transitional colour between the deep yellow centre and the outer cast shadow edge in blue.  <\/p>\n\n\n\n

The lessons on how to glaze with this delicate medium using primary colours were invaluable.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Allison<\/a>
Allison Krajcik, White Roses in Shadow, 2000, Winsor Newton Watercolor on Arches Watercolour paper, 10 x 23 \u00be in. I was becoming more confident with pushing the contrast along the shadowed edges of the petals.
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\"Allison<\/a>
Allison Krajcik, Poinsettias, 1998, Winsor Newton Watercolours on Arches Watercolour paper, 24 x 18 in. Painted by using thin glazes in primary colours only. <\/figcaption><\/figure>\n\n\n\n
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They enabled me to push the colour even further as in White Roses in Shadow and Poinsettias<\/em>. You can see how light and cool the overall colour is in the earlier pieces but in the later work, I understood how to get that glow without the mud!<\/p>\n\n\n\n

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Moving On To Pastels To Explore Luminosity<\/strong><\/h3>\n\n\n\n
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At first, I had been in awe of those watercolorists that were purists and left the white of the paper as their lightest lights. In my mind I had come to believe it was cheating to use white paint to \u201cfix\u201d a painting. However, over time the tiptoeing around the white of the page created a tentativeness that became tedious and I grew tired of such a controlled approach to painting. This was the motivation to explore pastels, a medium that seemed less fragile and more expressive. <\/p>\n\n\n\n

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\"Allison<\/a>
Allison Krajcik, June Bouquet, 2020, Schmincke Pastel on UART 400 grit paper with alcohol washes, 18 x 15 in. Back to florals from the perennial garden!!
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I could build on all I had learned about working wet into wet with watercolour by creating washes with pastel and water or alcohol. <\/p>\n\n\n\n

Pastel also offered the ability to literally lay one colour on top of another without blending which intensified the interaction of colours. This sparked the idea to create a warm underpainting of pastel washes with layers of cooler colours over them. <\/p>\n\n\n\n

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\"Allison<\/a>
Allison Krajcik, Peony Spiral, 2022, Schmincke Pastel on UART 400 grit paper with alcohol washes, 15  x 12 in. White Peonies are a favourite and I wait for their arrival every June. They only bloom for about a week and if it rains, I will find their faces in the dirt \u2013 even having them staked!
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These paintings began with UART paper and an underpainting with a pastel wash with alcohol. The peonies were done from several plein air studies of peonies from my perennial garden. <\/p>\n\n\n\n

I learned most of what I know about creating and maintaining a perennial garden from my mother. Even though our gardens did not follow the shape and form of the formal English gardens she had known growing up outside of London, we would strive to coordinate the colour and timing of the flowers throughout the summer season and of course keep it weeded and watered.  <\/p>\n\n\n\n

Without hesitation, I would pull out milkweed, pokeberry, or any other plant that was not deemed worthy of a place in a cultivated garden. Just as I had \u201cbelieved\u201d in the purist approach to watercolour, I had also bought into the idea of a perfect perennial garden. <\/p>\n\n\n\n

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\"Allison<\/a>
Allison Krajcik, Tabletop Sunshine, 2023, Various soft pastels on UART 400 grit paper with alcohol washes, 16 \u00bd  x 18 \u00bc in. Sometimes winter can be sooo long and I just needed a little of my favourite yellow to chase away winter!<\/figcaption><\/figure>\n\n\n\n
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Although I have maintained a perennial garden in our yard for more than three decades, it was not until recently that I learned of the critical connection between the Monarch Butterfly and Milkweed. <\/p>\n\n\n\n

This specific plant is a singular source of food and supports the butterfly\u2019s long journey back to Mexico each year but has become scarce as habitat disappears (and gardeners like me, stomp on it!!). I could not help feeling a bit remorseful about my attitude toward the plant and noticed it more often when walking and hiking. <\/p>\n\n\n\n

I remembered as a child, finding milkweed in the nearby field and cracking open the pods in the fall when they were brown and ripe. They revealed the most amazing bundle of silk threads and seeds that lay neatly inside just waiting for small fingers to pinch them! The silk threads would slide between fingers slowly unravelling and the seeds would take flight on the slightest breath of air. <\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Allison<\/a>
Allison Krajcik, Time to Go, 2022, Various soft pastels on UART 400 grit paper with alcohol wash underpainting, 18 x 13 in. This was painted as an homage to the humble milkweed. A brownish-orange underpainting was used to complement the subsequent blue of the sky. (The winning painting!)<\/figcaption><\/figure>\n\n\n\n
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I knew I wanted the blue sky to transition from light to dark in a turquoise to cerulean blue so I covered the UART 400 grit paper with its complement – a burnt orangey-brown pastel alcohol-washed underpainting. I thought that I could let the underpainting show through the blue sky to add excitement to the background. Slanting the tallest plant would create movement and instability which would work toward a windy chaotic scene. <\/p>\n\n\n\n

The lower part of the composition was created by randomly blocking in the pod shapes and then cutting in the background to add interest and movement. UART paper is very forgiving and once the background was stained with the wash, I could rework and play with these shapes as much as I wanted. It was very freeing!<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Allison<\/a>
Allison Krajcik, Sirens of Summer, 2023, Acrylic gesso on watercolour paper toned with a wash using Art Graf Tailors chalk and layers of soft pastel on top, 13 \u00be  x 10 \u00bd in.<\/figcaption><\/figure>\n\n\n\n
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In the Poppy paintings Sirens of Summer<\/em> and Garden Glow<\/em>, I was striving to leave the background as a textural element without detail and let the poppies float above, the way they do in the garden. The logical approach would be to use a deeply textured paper so I coated a sheet of watercolour paper with white acrylic gesso and let it dry. <\/p>\n\n\n\n

I used Blick Professional white gesso. I think it is most commonly used for preparing surfaces for oil painting. I like it because it keeps that bright white under washes. It also preserves the paper so if and when I screw up, it can be washed off and I can start over which is so freeing! <\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Allison<\/a>
Allison Krajcik, Garden Glow, 2023, Acrylic gesso on watercolour paper toned with a wash using Art Graf Tailors chalk and layer of soft pastel on top, 11 x 14 in.<\/figcaption><\/figure>\n\n\n\n
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I drew the compositions out with watercolour pencils then wet the entire sheet, blurring the lines. I painted washes with red, yellow, and blue ArtGraf Tailor Chalk<\/a> into the wet paper to create a warm underpainting. I also used the ArtGraf to draw into the semi-wet paper where the marks can be quite unexpected and will either melt in or remain grainy. I followed that with soft pastels. <\/p>\n\n\n\n

Poppies glow intensely when backlit by the sun and yet their petals are as thin and crinkled as tissue paper. I wanted to play up these characteristics and the luminosity of the blooms. I did it in two ways. <\/p>\n\n\n\n

First, in comparison to each other, I chose cool coral pinks for the sunlit surfaces of the petals and hot red-oranges of the backlit petals in shade. Secondly, I used a range of blue, grey, and purple tones to show the cool shaded side of the flowers that reflected the sky.<\/p>\n\n\n\n

With these next two pieces, I was intrigued by the contrast between the textures of the silk and shells as well as the temperature shift between the soft warm glow that is seen within the silk against the cool slate-coloured shells in the shadows. <\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Allison<\/a>
Allison Krajcik, Silk and Seed, 2023, Wallis 500 grit paper, pastel, and water washes with soft pastel, 10 \u00bd  x 18 \u00bd in. I am still fascinated by the temperature and textural contrasts between the soft warm silk and the crusty cool shells in shadow.
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The watercolour paper was coated with acrylic gesso, dried, then stained with a warm underpainting. Nu-pastels were used to draw the shapes of the shells and a variety of soft pastels were used to emphasise the glowing silks. The singular strands of silks were added last.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Allison<\/a>
Allison Krajcik, Twisting with the Wind, 2023, UART 600 grit paper, Art Graf washes with soft pastel on top, 16 \u00bd  x 18 \u00bc in.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

I find milkweed more fascinating with every glance. The wind inflates the silk forming small balloons nestled in the shrinking pod. The pods shrivel and twist and become almost like paper as they dry. They resemble the shape of small birds and their exterior becomes prickly so that as the silk expands it gets caught and unravels to release the seeds. <\/p>\n\n\n\n

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

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

Well, I\u2019d say that Allison Krajcik sure knows how to get that inner glow. Those last pieces absolutely glow from within don\u2019t you think?! <\/p>\n\n\n\n

We\u2019d LOVE to hear from you so if you have questions for Allison or if you\u2019d like to share your biggest takeaways, then be sure to leave a comment below.<\/p>\n\n\n\n

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

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

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