Author: clcooper3

Mont Marte – Metallic Acrylic Paint Review

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A big thank you to Leafy Cheung at Artmate for allowing me to test these paints!  If you’re looking for shimmer and shine in your work, Mont Marte’s metallic acrylics are a great choice, with something for everyone from beginners to experienced artists.

Overall Impressions

These paints have a consistently smooth texture, regardless of thickness, and can all be thinned with water for layering. Whether you’re just starting or are an experienced painter looking to add metallics to your toolkit, Mont Marte has options worth exploring. Ultimately, your choice will depend on the coverage and finish you’re aiming for.

 Discovery Range

  • Targeted for beginner painters
  • A step up in quality compared to other tub-style paints I’ve used
  • A solid entry point into metallics

Metallic Acrylic Colour – Signature Set

  • Great price point
  • Impressive pigment quality
  • Good coverage and color intensity
  • Fast drying with a classic metallic finish
  • I especially like that this set goes beyond the standard gold, silver, and bronze—you get a more expansive color palette
  • I’ll be using some of these shades (thinned with water) for the underpainting of a rusty old blue truck I’m currently working on

Gold & Silver Acrylic Paint Set – Signature

  • Also budget-friendly
  • Strong coverage and color intensity
  • Slightly thicker consistency than the general Metallic Acrylic Colour set
  • Although metallic, it has a subtle matte finish—the difference is more noticeable when side by side (see photos for comparison)

Metallic Acrylic Paint – Premium

  • Ideal for artists, designers, illustrators, and art students
  • Rich pigments, reflective finish, excellent coverage
  • Takes a little longer to dry—I used a blow dryer to speed things up
  • Significantly thicker consistency, which makes it feel more substantial when applying

Artiste Range

  • I did not test this one, but it’s Mont Marte’s top-tier metallic paint line—definitely on my radar for the future!

I use metallic acrylics primarily for underpainting rusty vintage vehicles—the shimmer peeks through and adds depth when I layer pastels on top. I’ll be using these new paints for the blue truck I’m currently working on.  If you’re looking to expand your toolkit with metallics, Mont Marte’s range offers great value and versatility. Whether you’re experimenting with effects or aiming for professional finishes, these paints are a worthy addition to your studio.

UPDATE: The Journey of Artistic Growth: A Year in Juried Shows and a Special Award

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As an artist, one of the most rewarding aspects of my practice is the opportunity to participate in juried shows—both online and in-person. Every year, I submit my work to a variety of competitions and exhibitions, where my art is evaluated alongside that of many talented peers. For me, simply being accepted into these shows is an honor in itself.

In some cases, these competitions feature over 100 artists and hundreds of pieces of artwork, all vying for attention. With so much talent on display, the process of being selected feels like an affirmation that my art is heading in the right direction. It reassures me that I am continuing to grow, both in my skills and in my ability to connect with viewers—whether that’s the show jurors or the audience who sees my work for the first time.

But, of course, not every submission results in an acceptance. And that’s okay. At the heart of my creative process is passion, and no rejection can ever take that away. For me, art is about self-expression, discovery, and the joy of creation. Whether or not my pieces are selected, the act of making art is always a rewarding experience in itself.

April 18 A Pinch Me Moment: Juried into IAPS 2025 Spring Web Show – 46th Open Division

I am thrilled to announce that my painting, Holmes 440 Wrecker, has been accepted into an International Association of Pastel Societies (IAPS) juried exhibition! For those unfamiliar, IAPS unites pastel societies worldwide to support and promote the fine art of pastels. Being selected for such a prestigious international show is both an honor and a significant milestone in my artistic journey.

While I did not receive an award in this particular exhibition, the acceptance itself is a testament to the quality and appeal of my work. Each acceptance into an IAPS juried exhibition earns one point toward the IAPS Master Circle designation. To achieve this honor, artists must accumulate five points, which can be earned through acceptances and awards in IAPS juried exhibitions.

Achieving Master Circle status is a significant accomplishment, and I am excited to be on the path toward this goal. While it may take time to accumulate the necessary points, each step forward is a rewarding experience that fuels my passion for pastel painting.

Thank you to IAPS for this incredible opportunity, and to all who have supported me along the way.

A Special Achievement: Honorable Mention in the Dakota Pastels First Quarter Competition

This year has been particularly exciting, as I received an Honorable Mention for my painting Holmes 440 Wrecker in the Dakota Pastels First Quarter Competition. It was a humbling experience to have my work recognized among so many other talented artists.

If you’d like to see the full show, you can explore all the incredible work on display https://www.dakotapastels.com/…/2025-First-Quarter…

Red Rock Pastel Society of Nevada – Yellow: Get Out of Dodge was juried into the show.

I will continue to update this posting as I obtain the results from future show entries.

Thank you always for your continued support.

Monte Art – Water Soluble Oil Pastels Review

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This was my first time using oil pastels, so I approached this new medium with curiosity and a bit of caution. As a soft pastel artist, my process typically involves creating an underpainting to guide the application of pastels, establishing lights, darks, and local colors. I was intrigued by the potential to incorporate the oil pastels into my underpainting process. Here’s how it went!

First Impressions & Application:

I began with a simple landscape underpainting on UArt 500 grit sanded paper. The initial application revealed some interesting characteristics:

• The colors were vibrant and laid down smoothly, I noticed that the pastels occasionally left small chunks. This could be due to the sanded surface or my unfamiliarity with the pressure needed for even application.

• The pastels blended effectively with a brush, as recommended on the box. I also experimented by overlapping colors in the sky.

Blending Experiment – Water vs. Alcohol:

According to the product instructions, water or other oil painting mediums could be used to wash the pastel. To compare the effects, I used water on the left side and alcohol on the right:

• Water was more effective in dissolving the pastels, creating a smoother and more fluid wash.

• Alcohol resulted in a slightly more textured effect, with some areas retaining more pigment.

Testing on Different Surfaces:

To see how the pastels would respond to a smoother surface, I repeated the process on Strathmore Mixed Media 300 Series paper. This yielded different results:

• The application was smoother, and the pastels blended a bit more easily.

• Both papers worked well, but I preferred the UArt sanded paper for the style of paintings I create, as it added more texture and depth to the underpainting.

Layering with Soft Pastels:

Once the underpaintings dried, I applied soft pastels over the top. The results were promising:

• The washes dried to muted tones, providing a subtle and harmonious base for the soft pastels.

• The soft pastels adhered nicely without any interference from the oil pastel underpainting.

Final Thoughts:

The water-soluble oil pastels offered a new way to create an underpainting. I will continue exploring this technique in future soft pastel paintings.  If you’re a soft pastel artist looking for a new way to approach underpaintings, these water-soluble oil pastels are worth a try.

Review of Oufin 48 Soft Pastel

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It was an honor to be asked by Leafy Cheung of Artmate, an Art Material Manufacturer, to use and provide feedback on several brands and types of pastel. Here is a painting I created with Oufin Soft Pastels and my feedback about this set.

Oufin is a lesser-known brand to me, but I was pleasantly surprised by the quality of their 48-piece soft pastel set. Striking a balance between hard and soft pastels, these half-stick pastels offer smooth, consistent density without sharp edges from machine marks.

One feature I particularly enjoyed was the absence of wrappers, making the pastels ready for immediate use. For those who like to stay organized, the sticks are stamped with color numbers—perfect for creating a color chart.

The application was buttery and smooth across the board, though, like most sets, there were minor inconsistencies: yellow was slightly softer, and red had a bit of grit. Still, the overall quality was impressive.

With the color and value range provided, I completed a painting, needing only a few additional sticks from my sets: an extreme dark and a trio of turquoise values.

For its size, quality, and price point, the Oufin 48 Soft Pastel set is an excellent choice for beginners or artists looking for an affordable, versatile set to explore.

  • These are the colors I used for the painting. The colors along the bottom are pulled from my own sets.

Artistic Growth and Plans for 2025

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First, I want to thank all those who have supported my journey. This includes my husband, family, fellow artists, instructors, and others who engage with me on social media. Your encouragement, constructive critiques that help me grow, and interest in my process motivate and inspire me.

Here is a look back on 2024:

  • The highlight of my year was attending the International Association of Pastel Societies (IAPS) convention in New Mexico. This magical event brought together over 500 artists from across the globe. There were workshops, networking opportunities, and an art supply store. It was also my first trip to New Mexico.
  • I purchased several new art supplies at IAPS, some of which I’d never used before. Experimenting with these has been exciting and has enhanced my technique for painting rusty vehicles.
  • My daughter and I showcased our “Generations” art exhibition at the Rialto Gallery in Morrilton, Arkansas. It was also held at Argent Gallery in North Little Rock in December 2023.
  • My painting “Mater” was auctioned off at the Community Service Inc. annual charity event. It was an honor to donate this painting for such a worthy cause.
  • I attended a workshop by Nancie King Mertz and have been practicing the valuable techniques I learned.
  • My daughter and I collaborated on a mural at a private home featuring the Arkansas Razorback – “Woo Pig Sooie.”
  • I served as the Exhibition Chair for the Arkansas Pastel Society.
  • One of my goals was to salvage two “dud” paintings from a 2023 workshop. This exercise was both challenging and rewarding.

Reflecting on the past year has provided valuable insights that will guide me as I plan for 2025. The best part? I am now retired from the corporate world, allowing me more time to paint!

  • Serve as President of the Arkansas Pastel Society (APS).
  • Plan, paint, and prepare for the next mother-and-daughter show in March 2026.
  • Continue teaching one-on-one art sessions, which I began in December 2024.
  • Volunteer to teach two one-day sessions for LifeQuest of Arkansas.
  • Expand my rusty vehicle series, experimenting with textures and new materials.
  • Explore the idea of creating an abstract painting inspired by the unique rock formations on Petit Jean Mountain. These formations share qualities with the colors and textures of my rusty art. I’m excited to see where this journey takes me.

What are you most excited about in your plans for 2025?

A Heart Full of Thanks This Thanksgiving

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During this Thanksgiving, I find myself reflecting on all the blessings in my life with a grateful heart. This year feels especially meaningful, as it’s my second month of retirement—a new chapter that’s already brought so much joy, freedom, and creativity.

I’m deeply thankful for my family, friends, faith, and good health. These pillars of my life have carried me through every season. Having more time now allows me to cherish these relationships even more and soak in the small, meaningful moments that truly matter.

I’m also incredibly thankful for my art and the vibrant community surrounding it. My creative journey has been such a source of fulfillment, and it’s humbling to share my work with you. Your support, encouragement, and enthusiasm for my art fuel my passion every day. I’m grateful to the galleries that showcase my pieces and to the connections I’ve formed with fellow artists who inspire me.

Perhaps one of the greatest gifts is sharing this passion with my daughter and her children. Creating alongside her brings a sense of purpose and joy that words can hardly capture. It’s a reminder of how art can connect us in ways that transcend generations and deepen our bonds.

This Thanksgiving, I’m embracing the beauty of this season of life and all the possibilities it holds. Thank you for being part of my journey—I can’t wait to share more with you in the months ahead.

Wishing you all a happy, peaceful, and gratitude-filled Thanksgiving!

Lesson Learned: Correcting a Framed Painting

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As an artist, there’s nothing quite like the feeling of finishing a painting, framing it, and stepping back to admire your work. But what happens when something about it just doesn’t feel right? That’s exactly what happened to me. I framed a painting I’d spent hours working on, but deep down, I knew something was off. That nagging feeling proved to be right, and it led to a valuable lesson that I want to share with you.

The Framing Dilemma

When I first framed the painting, I knew something wasn’t sitting right. It was a landscape featuring an old, rusted car sitting in a manicured sod field. I had painted everything exactly as I saw it, but there was a disconnect between the car and the rest of the scene. The car felt too separate from the environment—it didn’t belong.

I entered the painting into a juried show, and while I didn’t expect perfection, I was curious about what the judge would say. The feedback was kind but clear: the car, while beautifully rendered, seemed to be floating on the surface of the landscape rather than grounded within it. It almost looked as though the car had been cut out and pasted onto the canvas.

I had focused too much on the details of the car without considering how it interacted with its surroundings. The sod farm was too neat, too perfect, and the car felt like it was sitting on top of the landscape rather than being part of it. I painted what I saw vs taking out my artistic license and painting what felt right.

Unframing the Painting to Make Adjustments

This was the first time I’d ever taken a painting out of its frame to make changes, but I couldn’t shake the feeling that I needed to make it right.

I decided to add texture and life to the landscape. I introduced some rougher, wilder grasses into the scene. I imagined what the field would actually look like after a car had been sitting there for an extended period. Grass would have grown up around it, and weeds would have started to take over. It was exactly what the painting needed.

The Lesson Learned

The biggest lesson I learned from this experience is simple but powerful: trust your gut. If something doesn’t feel right about a painting, don’t rush to frame it or call it finished. That unsettled feeling is often your intuition telling you that there’s more work to be done.

I also realized how important it is to step away from your work. Let the painting sit for a while, maybe even turn it around so you don’t look at it for a few days. Take a photo of it or examine the reflection in a mirror. These tricks can help you see the composition with fresh eyes. And if you’re still unsure, call a friend or fellow artist for feedback.

Conclusion

Correcting a painting that was already framed felt like a major step outside my comfort zone, but it led to a deeper understanding of the creative process. As artists, we’re always learning, even from the mistakes we make. This experience taught me to trust myself, take a step back, and give my art the time it needs to fully evolve.

Have you ever had a similar experience where you needed to correct a piece of artwork after thinking it was finished? I’d love to hear your stories and lessons learned in the comments below.

How fantastic it is when art beautifies spaces and supports such meaningful causes.

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My daughter, Evelyn Laurence, and I had a wonderful time at the Community Service, Inc. 13th Annual Steve Willbanks Tribute. CSI’s mission to lead in providing quality services to youth and families—empowering them to succeed in their homes, schools, careers, and communities—is truly inspiring.

The event featured a silent auction, and it was an honor to have “Mater” included. How fantastic it is when art beautifies spaces and supports such meaningful causes!

Thank you to Ray Moll for inviting us to be your guests. And congratulations to Shawn Halbrook on your well-deserved community service award!

Reflections on My Art Journey: A Year of Competitions

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This year, I participated in 10 art competitions and shows across the country, some held online and others in galleries. I want to give a huge shoutout to the organizations that coordinate these events—it’s no small task. I also want to express my heartfelt thanks to the artists who jury and judge these shows. It’s not easy to review potentially hundreds of paintings and determine which meet their unique criteria for acceptance into the show. Moreover, deciding on awards like Best of Show, 1st, 2nd, 3rd, and Honorable Mentions requires several reviews over multiple days. These decisions are made with their knowledge that while some artists will be ecstatic, others will be disappointed. As artists themselves, they understand all too well how that feels.

What we have to keep in mind is that we are all unique—what we look for in art is different, how we feel on a particular day, the emotion the piece invokes, and the other art pieces in competition all play a role. Though I was accepted into only three shows and did not receive an award, I’m honored to have been selected at all. There are amazing artists in these competitions, some of whom I’ve had the privilege of learning from in workshops. This experience validates that I’m on the right path, but ultimately, I paint because it brings me joy and sparks something in the viewer—perhaps a memory or a feeling. Click the links below to see information on the society and the full show.

Southwest Florida Pastel Society – 4th Annual National Exhibition (not open till Sept 10.)- “Get out of Dodge”.

Pastel Society of America – Industrial/Machine Pastel Showcase – “Get out of Dodge.

Pastel Society of North Carolina – Pure Color 8th International Online Juried Exhibition – “Out to Pasture”

Now to get creating!

The Rusty Vehicle Process: Exploring New Supplies: Enhancing My Artistic Process After the IAPS Convention

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Attending the IAPS (International Association of Pastel Societies) Convention this past June was an inspiring experience. The convention buzzed with creativity and innovation, offering a unique opportunity to explore new techniques and materials. Among the various workshops and demonstrations, the vendor booths were particularly exciting. I couldn’t resist purchasing several supplies I had never used before. This blog post details my journey of incorporating these new tools into my artistic process, highlighting the challenges, benefits, and overall impact on my work.

The New Supplies

At the IAPS Convention, I acquired several intriguing supplies that piqued my interest:

  1. Royal Talens FINETEC Premium Metallic Watercolors
    • These watercolors add a shimmering effect and enhance the luminosity of the underpainting. They have brilliant colors and strong pigmentation.
  2. Terry Ludwig Elements Pastels
    • Known for their rich, creamy texture and metallic flakes, these pastels offer vibrant and unique highlights.

My Process

Incorporating these new supplies into my artistic process was both exciting!

Switching from Sanded Paper to Stretched Canvas

For this particular painting, I decided to use a stretched canvas instead of my usual sanded pastel paper. The transition started with applying gesso over an old painting, using a 6″ wide brush to create a textured surface. To avoid working on a stark white canvas, I covered it with micaceous oxide acrylic paint. This resulted in a gritty, dark gray surface with a subtle shimmer, perfect for painting rusty vehicles. A technique I learned about at Art Outfiters in Little Rock, AR.

Sketching and Underpainting

Once the canvas was prepared, I sketched out the drawing. I then used the Royal Talens Premier Metallic watercolors for an underpainting on the tractor. These metallic watercolors added a luminous base layer that would shine through the subsequent pastel layers.

Layering and Detailing with Pastels

With the underpainting complete, I began layering pastels. I started by blocking in the entire painting, ensuring I identified the darkest darks, lightest lights, and mid-tones. Working around the painting, I applied pastels with directional strokes to create texture and depth. Using a light touch with the pastels allowed the underpainting to shine through, creating a layered and nuanced effect. This technique also preserved the tooth of the canvas, enabling multiple layers of pastel to be added without overloading the surface. It was a challenge to resist focusing on all the intricate details at this stage.

For the brick building, I wanted to convey the texture of bricks without drawing each one individually. I used cake decorating tools to drag across the pastel, creating lines that suggested bricks. I then lightly blended certain areas to soften and eliminate some of the lines, achieving a balanced effect.

Next, I turned to the details of the tractor. My goal was not to capture every detail perfectly but to provide enough information for the viewer to recognize it as a tractor. Before finalizing the lighting, I added the grasses, adjusting the balance between light and dark areas to enhance the overall composition.

Adding Finishing Touches

The most fun part was using the Terry Ludwig Iridescent pastels. These pastels are incredibly rich and creamy, with a beautiful metallic flake that was perfect for highlighting the radiator of the tractor and adding orange highlights of rust. These finishing touches brought a dynamic and eye-catching quality to the painting.

Benefits and Enhancements

The Royal Talens Premier Metallic watercolors added a unique luminous quality to the underpainting, enriching the final work’s depth and vibrancy. Finally, the Terry Ludwig Iridescent pastels offered stunning highlights and metallic effects that elevated the painting’s visual appeal.

These new materials have expanded my creative possibilities, allowing me to experiment with different textures and finishes. The process of integrating these supplies also challenged me to think differently about my approach, leading to a more dynamic and layered final piece.

I encourage fellow artists, whether beginners or professionals, to step out of their comfort zones and experiment with new materials. Stay tuned for the final version of this painting and more insights on how these supplies continue to shape my art.