One of the most exciting moments in the editorial process that begins with recruiting the talented pastel artists you see featured in our pages and ends with the magazine arriving at your doorstep, is choosing which painting will appear on our cover. There are many variables involved—orientation, composition and color, to name only a few—but our primary aim is to select a painting that will convey the tone and timbre of the work happening in pastel today, while also drawing the eye of potential readers at the newsstand. Care to lend us a hand with our selection for our June 2009 issue? We'd love to hear what you think. Cast your vote for the best The Pastel Journal cover by clicking here or on the covers above.

The staff of The Pastel Journal is shocked and deeply saddened to learn of the sudden passing of artist Al Zerries. Zerries has long been a friend of the magazine and his work has also appeared often in the pages of our sister publications, The Artist's Magazine and Watercolor Artist. On a personal level, the interviews that I conducted with the artist in preparation for the feature I wrote on his work for the December 2008 issue of The Pastel Journal, were among the most riveting and rewarding I've had as an editor. His determination as an artist and a writer were and are an inspiration to me and I'll always remember our talks fondly. In celebration of Zerries' work and his working life, we offer this slide show of his portraits in pastel, watercolor and oil, along with our sincere condolences to his family and friends.

Alchemy (25½x39¾) by Peter Seltzer

I use a responsive method of painting, feeling out the areas where I need to strengthen light, subdue it, or emphasize elements of the composition. It’s not uncommon for me to spread the focus across the picture plane. Instead of having one isolated area that’s the main focus, I tend to allow for the eye to move across the composition with relatively equal attention to the elements in the eye’s path.

Alchemy is a good example of a painting that works in this way. There’s a lot going on in this piece, to say the least, but if you really look at it, you’ll see there’s a certain repetition of forms, horizontals and elements that move the eye across. Working this way demands that you have a good degree of control over your movement, so that the viewer’s eye moves.

Creating rhythm brings a subtle organization to a potentially chaotic composition containing many elements.  Just as there is rhythm in music that underlies the melody and helps move us through the song, we can also create visual rhythm, which guides the viewer’s eye through the painting. 

Try using some similar shapes and sizes, repetition of color and even similar negative spaces to establish unobtrusive flow.  There is always a delicate balance in achieving movement. Can you move the viewer’s eye without being too obvious? You don’t want the rhythm to overtake the melody.

Try This at Home
Show us one of your pastel paintings (or several) and tell us what you did to direct the viewer’s eye through the composition. E-mail images to pjedit@fwpubs.com (as a 4x6-inch JPG image with a resolution of 72 dpi) by April 20, 2009. Type “Creative Spark” in the subject line and include your name, e-mail and mailing address. The “editors choice” will receive a half-stick set of new Colourfix Pastels, a Rainbow Pack of Colourfix Paper and a Colour Shaper blending set (total value $160).

And the 10th anniversary issue hits just keep coming! You can now get a sneak preview of the top winners in the 10th annual Pastel 100 competition on our website. Click here to learn more about a pastel newcomer, a master of still life, a passionate professor, an animal lover and a demo that evolved into a prizewinning landscape.

Pictured: Fallera in Turquoise (pastel, 20x13) by Carolyn Robles, winner of the Jack Richeson/Unison Pastels Best of Show Award ($5,000).