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

Our Sponsor

Cover Image
Transfixed
By Lynn Howarth
The Scribbler Team
This issue is made by:
Ruth Mann,
Writing and proofreading
Jill Harker,
Proofreading, and writing
Dorothea Schulz,
Translation, proofreading
Jim Humphreys,
Editor, Layout
Marie France Oosterhof,
Writing
Rosie Farrell
Proofreading

From the Editor:


It is time again for the PGE Annual General
Meeting (AGM). This will be held in a chat room
on Sunday 29th March at 6pm (1800) GMT+1.
Go to page 10 for more information
Please contact Ruthie or Dorothea direct, or
email chair@pastelguild.org if you are
interested in helping your PGE grow or would
like to discuss things before making a
commitment.
Spring is in the air and the days are beginning to
get longer, so there is now more time for the
Plein Air painters among you to get out there
and paint. For others there is more time to
gather reference material for your studio
paintings.
Artists these days have several ways to get their
work out into the public domain. Social media is
growing in popularity, however , along with
having work hung in a gallery, producing prints

Contact:
scribbler@pastelguild.org

What are your plans for future works? Have you


any exhibitions scheduled that would benefit
from a notice posted in the Scribbler? Have you
been juried into any shows, or been fortunate
enough to win an award? Do you have an
interesting article that you could share with our
readers, or any comment you wish to make? The
Scribbler team would like to hear from you.
Write to scribbler@pastelguild.org

Keep happy, stay dusty

Jim Humphreys

Inside this issue

PAGE 3
All the winners of the February
Get Dusty Competition

Page 6
Meet our Guest judge

PAGE 7
Meet our winner of the Winter Get Dusty Competition
PAGE 9
Get Dusty Schedule and Creative Bubbles
Page 10
AGM Notice & Forum News

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still remains a firm choice for many. In this issue


members are discussing their views on printing
at home, and the associated pros and cons. Have
you any advice or experiences (good or bad) to
share with other members?

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Members Gallery
A selection of our members paintings

Page 11
Members News
PAGE 13
Meet our new Members

P a g e

Get DustyPortrait with Dramatic Lighting


The winner of the February Get Dusty isLynn Howarth

FIRST PLACE
"Transfixed" by Lynn Howarth.
The Judge says: This is an excellent painting which
corresponds perfectly with the theme of the
competition. The dramatic lighting, also called
chiaroscuro, has that high capacity of letting us enter
the scene instead of just staying an onlooker; it also has
the ability to make the scene mysterious. This is
precisely what you feel when you look at this pastel
painting. This singular female portrait was done by
playing with the very strong contrasts generated by
white, harsh light. This lighting gives a lot of depth to
the composition although it consists of only a few
elements. The contrasts and shadows on the face are
brilliantly rendered and the choice of colours is
interesting. The whites contain hints of blue to better
describe the whiteness of the light; the same cold hues
are set against the warm flesh tones of the womans
complexion. The eye is very expressive and gives a lot
of character to the ensemble. The clothing, though
discreet, is also well rendered. Given that drawing a
hand is far from being easy, it brings added value to the
quality of the work.

SECOND PLACE
"Wistful Reflection" by Lynn Howarth.
The Judge says: This is a beautiful portrait of an
aged man which fully matches the theme. This
kind of painting is called grisaille. Using pure
white on a grey paper is a good choice to increase
the impression of depth and relief. The drawing
and proportions are excellent. The modelling of
the face is done by expert use of strong luminous
monochrome contrasts. This is an intimate and
touching portrait which urges us to reflect. This
feeling is reinforced by the downward gaze of the
subject as well as its slight off-centre placement on
the picture plane. It gives an impression of
isolation, of being in the background. The subject
seems to be alone, occupied with deep reflections,
perhaps even talking to himself.

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Joint Third
The Judge says: These are two very successful pastels in both the choice of subjects and the execution. We have here two very different
themes: the fear for ones life and the joy of living.

Night Sight by Jim Humphreys


Night sight has an original and unusual
theme; one would expect to see this kind of
image in a comic book illustration. This nearly
monochrome pastel is entirely built around
the effects of the green night vision on the
skin and the different plastic and metallic
elements of the military material. The
proportions are impeccable and reinforce the
realism. The many details are painted with
precision. The dramatic lighting enhances the
action about to happen and fires our
imagination: we can visualize a soldier in a
military operation and in distress.

Laughing Eyes by Ruth Mann


Laughing eyes is a very different pastel. Its themes are youth,
carefreeness and joy of life. The look of the subject is very deep and
full of life. The proportions are excellent and the artists touch is
energetic and "loud". The many hues composing the flesh tones are
very well chosen. Notice how placing cool hues and warm hues next
to each other is a brilliant way of creating a vivid and vibrant
depiction. The use of blueish tones in the face is particularly well
thought out. The contrast effect of this lovely pastel is more
important than one would think: its colours are so cleverly put
together that its dark side very subtly stands out against its lighter
side.

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HONOURABLE MENTIONS
"Sunshine" by Elisabeth Blass
The Judge says: This is quite a lovely pastel full of sweetness which
reminds us of impressionist paintings where the artist uses more
suggestion than precise description. The luminous contrasts are
subtle but still present. The light source is clearly defined and nicely
shapes the different elements of the portrait. The way the subject is
lit up is excellent: the rendering of warm, golden sunlight on the face,
the hat and particularly on the hair is very successful. This is a pastel
where the poetry is enhanced by the use of only two ranges of
colours: blue and yellow.

"Blue girl" by Ole Hedeager.


The Judge says: In this portrait, a strong photographic overexposure
effect serves as dramatic lighting: a clever and daring idea! There is a
real contrast between the harshness of the bright overexposure and
the theme of childhood. The romantic, angelic subject strongly
contrasts with the way it is rendered. A dark blue is used to clearly
define all the contours, even the corners of the mouth. This gives a
glacial, but very eloquent effect, especially as the child gazes at the
viewer. A modern depiction, almost minimalist but very expressive
where line is more important than colour.

"1972" by Anya Lothrop


The Judge says: My eye was immediately drawn to this
painting, probably because of the impression of nostalgia and
sweetness emanating from it. There is a lot of warmth both in
the choice of warm hues and in the theme itself. The values of
the colours used for the subject are astonishingly close. This
could have removed this pastel from the theme of the
competition, but only if you dont take into account the foliage
of the trees and the womans dark hair merging and
contrasting sharply with the lightly lit background. The
composition is unusual because the subject doesnt pose: this
is a sort of snapshot of life, which brings a lot of charm to the
painting. Also note the well-done rendering of the garments
creases.

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Introducing our Guest Judge:

Florence Hamelin
By Jim Humphreys

Leonie

JH: Tell us a little about yourself


FH: During my development, I found
great difficulty determining which way
my life was going, and what I hoped to
achieve. I spent several years at college
and university, where I took scientific
and psychology subjects. I then studied,
and subsequently went to work in,
advertising graphics. I worked for several
different companies covering a variety
of business areas, which included
publishing. I did not really discover soft
pastels until about 6 years ago. Since
then I have been attempting to get
myself known as a pastel artist. Over the
past 2 years I have been showing my
work at exhibitions run by art
associations and salons. Some of these
were specifically for pastels, but there
were some which were for all media. It
is with pleasure, and pride, that I can say
I have been fortunate enough to win
several awards for my work.
JH: How do you prepare and plan your
paintings. Do you work from life, or from
photographs?

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FH: I have a studio where I do all my


work in the afternoons and evenings. I
work from photographs of my
favourite subjects, which are people
and animals. My working process is
initially to study my subject
completely, learning everything I can
about their colour, light, tones and
textures. I make use of different
technical aides such as the computer
screen, photocopies etc, which help
me to analyze the subject, and to learn
which are the most important key
elements as these have to be 100%
correct. Realisation that the whites of
the eyes are not pure white, and that
the skin is not just pink and brown
comes from very careful examination
of the subject. Once I am happy that I
know my subject, I then sketch lightly
on the paper (which is a light sanded
paper) concentrating on getting the
eyes correct before I move on. The
knowledge that the eyes are
successfully placed gives me
confidence that the painting will be a
success. Having satisfied myself about
the eyes, I can then begin the process of
placing the colours, beginning
with the lightest and working
toward the darkest tones. I think I
am basic in my approach, and
once I get started, I find it very
difficult to stop.

An artist does not necessarily live in a state of


euphoria. I feel that art is not a hobby, but a
continual challenge of oneself. Our own
values are tested to the full by the challenges
we set ourselves, and this can be painful but
rewarding. This process is what helps artists
to learn about and know their own self.
JH: What is it about pastels that make them
your favourite medium?
FH: My preference is for the soft variety of
pastels, I absolutely adore their ease of use.
The sheer brilliance of their rich pigments,
and their powdery texture lend them well to
my method of working, (as I use my fingers a
lot), making them the perfect choice for my
work. I enjoy the variety of the pastel brands,
whether sticks or pencils, and also the
different papers, all of which have their own
individual qualities. It is these qualities that
make it possible to produce excellent
paintings that can be painted in different
styles.
JH: What advice would well serve an aspiring
artist?

JH: What made you want to be an


artist?
FH: In answer to your question, I
admit to being quite Freudian. I
was only 4, and I wanted to draw a
princess, so I asked my mother to
show me. Although this was, at
the time, a very insignificant thing
to do, it became the germ from
which my artistic endeavours
were to grow. I consider drawing to
be a very personal and private
pursuit. I do not openly or publicly condemn
or censure anything and I do not seek to
make personal statements. My sole
intention is to appropriate what I see, and
what compels me to assimilate this
information. My aim is to be able to recreate
it as faithfully and accurately as is within my
power to do so. This is so for personal
features, colours, and pose etc.

Marta

FH: There are many morsels of advice one can


give, but foremost is the need for them to be
honest with themselves, live their art simply,
and above all, practice, practice, and then
practice again. They should not be frightened
or wary of making full use of all methods
available to get their work seen, and
themselves known. Social media sights are
great places to make friends who can inspire
and entertain them.

P a g e

An Interview with our February Get Dusty winner

Lynn Howarth
By Dorothea Schulz
Dorothea: Lynn, congratulations on
winning both the first and second places
in the Get Dusty challenge. Thats quite
an achievement! Please tell us a bit about
yourself, what brought you to art and
your artistic career

Eck

Lynn: Thank you Dorothea! I was


delighted to hear I had won the Get Dusty
challenge and was thrilled to bits to
receive my lovely box of Faber Castell
pastels as my prize Im particularly
looking forward to trying out the gold and
silver in my next piece!
My background story is quite unusual as I
came quite late to painting. When I was a
child I always used to say Im going to be
a famous artist! whenever I was asked
what I wanted to be when I grew up. I was
always happiest sitting at the kitchen
table drawing rather than going outside to
play with my friends. I had a very rich
interior life through my drawings and had
a great imagination for characters to fill
my visual stories.
After high school I studied at Grays School
of Art, Aberdeen from 1975 -79
graduating in Graphic Design and
Printmaking. I then spent the next 30 odd

Up-Periscope

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years as a Graphic Designer with a career


break of 10 years to bring up my three
children. I started my own design
consultancy in 1999 after my youngest
went to school, and ran a successful small
business from home which
allowed me to be there for my
family whenever they needed
me. During this period I found I
rarely had the time to draw, so
other than occasional portraits
of family and friends I didnt
really think about making my
art a full time career.
It was just three years ago in
2012 when I was skipping
through the pages of Facebook
that I saw an advert for the 28
Drawings Later Challenge which
was the brainchild of Glasgow
artist Victoria Evans whose
premise was that everyone can draw. I
loved that idea and signed
up to post a drawing a day
for the 28 days of February.
From the outset I used
pastels as I had a set lying in
a drawer gathering dust - I
had last used them four
years earlier to do a portrait
for a close friend! I posted
my drawings daily, enjoying
the discipline involved, which
totally re-ignited my drawing
mojo! The month
culminated in an exhibition
held in Glasgow and I was
amazed to find I had won
second prize for the most
liked drawing of the entire
challenge - especially as over 2000
drawings had been posted! It was only
then that I started to seriously think about
changing my career and I am
happy to say it was one of
the best decisions Ive ever
made. Its a strange thing
that its taken me over 50
years to realize that being an
artist is what I was truly
meant to be. It just goes to
show its never too late to
chase your dreams!
Dorothea: You do paint the
occasional landscape, but
your main interest seems to
be figure and portrait
painting. Why is that? What
is it about the human form

that makes you want to paint it?


Lynn: I guess you could say I am a people
person and thats why I am particularly
drawn to depicting the human body in all
its various shapes, sizes and forms. I love
trying to capture the essence of a person,
my emotional response to them and our
connection is all that really matters. That
beautiful moment when you feel it coming
together has to be one of the best feelings
ever! It truly is magical!
Dorothea: Is there a portrait painter who
particularly inspires you?
Lynn: There are too many to mention! I
particularly like Velasquez and Carravagio
for their deeply soulful works, Sargent and
Klimt for their compositional, colour and
design appeal and Freud for his
uncompromising nudes! All completely
different in style but all incredibly
inspirational to me.

Egyptian-Adventure

Dorothea: Tell us about your winning


portrait and what inspired you to paint this
scene.
Lynn: Transfixed came about after seeing
a friend post a photo of her daughter
watching something on the computer. The
photo wasnt very clear so an awful lot of
this was made up out of my head! As a
lover of Carravagios chiaroscuro I was
interested in the quality of light and shade
that I could play with in this piece. These
days youngsters (and not a few oldsters!)
are always looking at their phones, tablets,
iPads or computers so it was an interesting
piece to undertake that I hope tells us a lot
about our fascination with keeping in
touch with each other our constant
interconnectedness if you will!

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Float-2

Dorothea: How do you prepare for a


painting? Do you use thumbnails, sketches
or photos? Do you also work from life?
How important is life drawing for you?
Lynn: At the beginning of a new piece I
tend to think a lot about it before even
putting the first scribble down. I mull it
over in my head (often at night which is
not good for my sleeping pattern!) and try
to work out exactly what it is that I want to
communicate. Next morning in the studio,
if I havent worked it out fully, Ill begin
sketching my ideas down on paper if I
have a particularly clear vision in my head
Ill possibly skip that part and dive straight
in! Often Ill make colour notes on my iPad
as I find it a quick way of jotting down
ideas. If it is a commissioned portrait piece
and the person is available I try to insist on
sketching from life where at all possible. It
helps if you get to know and connect a bit
with your sitter as it can enable me to get
their character across. Its a strange
procedure in a way, its a bit like art
psychotherapy! I chat away a lot to my
sitter trying to put them at ease and in
doing so, I find they open up to me and
end up with their whole life story. Brilliant
for getting the real person behind the
portrait! I also take a few photos of the
sitter to help me once I am back in the
studio as I find the combination of
sketches, photos and what I have learned
about them helps me build a true likeness
of the person. I really feel that the
cornerstone of my art education lay in
learning the craft of life drawing. It was a
required element back in the 1970s which
is, sometimes, sadly overlooked now.
Despite taking the design path at Art
School, I still attended a Life Drawing class
every week for the four years of my degree
and value the benefits of drawing from life
where possible.

Dorothea: You paint mainly in


pastel. What do you love about this
medium?
Lynn: I love pastel for its immediacy
- I can get my ideas down really
quickly. As my ideas flow and
change as the piece progresses, its
wonderful to be able to change
things without too much fuss. I love
the intensity of the pigments in
pastel and the flow of colour as it
goes onto the support. If theres an
area Im not happy with I have a
great tip I learned from another
Pastel Guild of Europe member MarieFrance Oosterhof. Just sprinkle some
bicarbonate of soda on the offending area
and brush off the loose pastel it has

Nancy

sheets up to 100cm x 70cm so a good size


for portraiture. The wonderful thing
about Pastelmat is you dont have to fix.
Once you are finished you give the edge
of the paper a sharp tap on a level
surface and any excess dust just falls off.
For drawings I like to use either Canson
Mi Tientes or Ingres paper both of which
have a lovely tooth that holds the pastel
well. Recently I discovered Sanguine an
ancient reddish coloured earth/chalk
pigment that comes in rock form which is
beautiful to use along with white pastel
or conte. Lovely for both Life Drawings
and portraiture.
Dorothea: What are your plans for the
future?
Lynn: I just want to keep on painting
daily, improving my skills and pushing
myself by experimenting with pastels. Im
also hoping to find some galleries outside
Scotland to take some of my work so that
it can be seen by a wider audience. I find
Facebook and Twitter have helped
enormously to promote my work but
theres nothing quite like seeing a pastel
in real life! Id also like to help give
pastels a better press. For some reason
they have always seemed to play second
fiddle to oil paints and I have never
understood why! The same pigments go
into both - its just one is delivered dry
and the other wet!

saved so many paintings from the bin you


have no idea! Such a simple tip and very
effective!
Dorothea: Please tell us something about
your painting process and your favourite
materials.
Lynn: I started out with a full set of
Rembrandts and have built up quite a few
different sets of pastels over the past
three years. Although the Rembrandts
are nice to use as they can be helpful for
small details due to their being slightly
harder, I prefer my Unisons. They have an
intensity of colour and butterlike
smoothness of application that no other
brand comes close to its like painting
with light! For a support I tend to favour
Pastelmat which is a sanded paper but
less abrasive than other brands. Great if,
like me, you tend to use your fingers to
paint and blend saves your fingertips! It
comes in 8 colours, various sizes and in
Surrendered
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Get Dusty Schedule


MARCH: Category, LandscapeTheme, Trees. Deadline 25th March 2015
Comment Portrait of a tree, can be a single tree or a group. Emphasis must be on the tree/trees, not a landscape containing a large wood.
APRIL: Category, Animal plus!Theme, Feathers. Deadline 25th April 2015
CommentCan be a full bird study, a bunch of feathers, or a single feather
MAY: Category, portrait or still lifeTheme, Childhood memories. Deadline 25th May 2015
Comment Toys, sweets, a childish activity. Think back to your early years and be creative!
JUNE: Category, Unclassified. Theme, Interpretation - 'The sands of time were falling from your fingers and your
thumb, and you were waiting for the miracle, the miracle to come' Deadline 25th June 2015
Comment Let these beautiful lyrics by Leonard Cohen inspire you. What will it be, portrait, landscape, abstract
- who knows?
JULY/AUGUST: Free choice. Deadline 25th August 2015
CommentLet the juices of inspiration flow during the heady days of summer.
SEPTEMBER: Category: LandscapeTheme, 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. An animal portrait
with a vague background will not do for this challenge!
NOVEMBER: Category, Plant LifeTheme, Florals. Deadline 25th November 2015
CommentCan be flowers in a field, park or garden, or a close up of a bloom or blooms. Must not contain pots/
vases, other still life elements etc.
DECEMBER: Winter Free choice. Deadline 25th January 2016
CommentUse your Christmas gift pastels to produce a stunning work of art.

Creative Bubbles News


Our Creative Bubbles challenge in February asked you to depict
your idea of "the colours of winter", and Ute Hansen from Germany won it with her wonderful painting Sunny Winters Day.
Everything in the picture reflects the soft mood there, light
coming slowly, grass against the dark woods, a frozen path
leading to the quiet background. A peaceful, hopeful, lovely
painting. Thank you Ute for this happy moment we spent with
you!
Our March Creative Bubbles subject is "Waiting for Light", and
the deadline is 31st March 2015, so time to rush to your easels.

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ANNUAL GENERAL MEETING


Dear Member
It is time again for the PGE Annual General Meeting (AGM). This will be held in a chat room on Sunday 29th March at 6pm
(1800) GMT+1. The clocks go forward one hour that morning in the UK. Please check the time where you are. This may be 7 or
even 8pm depending on your time zone.
A link to the meeting will be sent to members nearer the time. The agenda and other documents will be posted in a thread in
the forum. Please be sure to log in and read them. The board hopes that you will find time to attend the meeting.
Things are starting to move forward for PGE. Many improvements have already been made to the website, with more to
come. The board has plans for the future which will be outlined at the meeting. As ever though, progress is much more easily
achievable with help. Volunteers are needed from amongst the membership to help make the plans become reality. Do you
have a little spare time you could give to being on a committee, sharing ideas or offering practical help? Think about it, you
could help shape the future of PGE and thereby the future of pastel in Europe!
Please contact Ruthie or Dorothea direct or e mail chair@pastelguild.org if you are interested in helping your PGE grow or
would like to discuss things before making a commitment.
We look forward to seeing many members, new and old, at the meeting.
Best wishes
PGE Board

FORUM NEWS
Join in and share your views and news.

Do you get acceptable prints produced from all your marvellous


pieces of artwork? Do you have problems with your home printer,
or with the local printers.? In the Atelier section the Different
printers thread is the place to talk about this, to either give, or
receive helpful advice from other members.

Winter has almost passed us by, and spring is in the air.


Pop into the Small Talk thread in the General section of
the forum to read what the buzz is all about

SOMETHING CHANGED

Focus on Underpainting

Once again we see a further improvement to the look of the website.


Our web wizard Frank M Schwietzer is always busy behind the
scenes of the Guilds website making changes where needed. How
often do YOU look to see what has changed, and why? Frank works
tirelessly for us all, so please show your support for him, go to the
Something Changed thread in the General section, and let him
know that you care.
That is also the place to suggest anything that could be done to
improve the look, or efficiency of the site. Frank is a very good
listener!

Once again a member is questioning whether they should


use underpainting, and if so how do they go about it. Also
asked was if anyone knew of good reading material on the
subject. This question has resurrected the original thread,
which contains some excellent thoughts. Time has passed
since then, so why not place some fresh ideas, fresh advice,
or even ask some questions. Go to the Atelier for the Focus
on Underpainting thread.

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MEMBERS NEWS
Congratulations

Lynn Howarth entered the WH Smith and Derwent Pencils Sketch Off competition which
was held recently. Artists were given 90 minutes
to produce a sketch of Una Stubbs. Lynn was
one of the three winners of the competition,
and will receive a set of 72 Derwent sketching
pencils. To add to her surprise two of the contestants from the BBCs Big Painting Challenge
tweeted her winning portrait.
See all the entries here

Jim Humphreys painting of Katie was selected


as one of the judges favourite 15% in the January Boldbrush painting competition.
The Favourite 15% can be seen here.

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Exhibitions

Exhibition of works by Dolores Saul


At the City Hall, Wehrheim, village Borngasse 1, 61273 Wehrheim
Opening: Monday 30/03/2015 at 6pm
Opening speech by the Mayor, Mr Gregor Sommer
Exhibition period from 30.03 until 05.38.2015
Opening times: Mon: 7am until 6pm, TueThu 7am until 4:30pm, Fri: 7am until 12 noon
www.dolores-saul.de ; D.Saul.aquarelle@gmx.de ; Mobile: 0173-1455555

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Welcome to our New Member


Kate Borovko
I was involved in creativity when I was a child. My
parents encouraged me by buying sets of
coloured pencils for drawing and I continued to
do so until I finished school.
Then I had a break.
When I moved to Calgary I felt a deep desire to
draw again, and I began to refresh my skills at
home. It was a new adventure for me, inside the
world of colours, forms, lights and shadows, my
understanding and soul grew as I continued to
paint.
When you take a piece of paper and build a three
-dimensional world, it is magic.
Ive tried watercolour and pastel and decided
that I am keen on pastels.
I am extremely thankful to all the artists who
have shared their knowledge. I have been
studying fine art at different courses and
workshops online and articles, books and
magazines.
I am so happy to have the opportunity to be
involved in the Pastel Guild of Europe.

Every child is an artist.


The problem is how to remain an artist once he grows
up!
Pablo Picasso

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Members Gallery
The Scribbler team need members to submit their paintings for inclusion in future issues..
Good quality photos of your work are the only requirement, no other rules apply.
Send your pictures to scribbler@pastelguld.org, or alternatively post them in your members profile gallery.

Barn in Winter
Martina Heinisch

Hattie
Jill Harker

Old Man
Ole Hedeager

Lord of the Grasslands


Julie Hodgson

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Sky Glory
Katerina Pyatakova

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Morning on the Lake


Zbynek Jalonecky

Bouquet de printemps
Isabelle Renoncet

Connor
Joanne Simpson

Girl in Blue with Yellow


Neva Rossie

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The Vacant Chair


Mary Brigid Mackey
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Orange Wolke
Clea Mller

Jkulsarlon
Ute Hansen

T C truly a Top Cat


Christopher Sayers

Distel
Oliver Kols
Squirrel
Gillian Lait
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