LAURINDA O'CONNOR, "The End of the Day"
A Process Story
***See all of Laurinda's pieces in the exhibit at the bottom of the Process Story.
Recent Article about Laurinda in Pastel Magazine
This particular scene is one of my favorites spots along Turner’s Pond in Milton MA where I walk frequently and have painted plein aire. As a pastel artist, I strive to let simplified strokes of color and line create a path into a scene and moment in time. I push myself to capture the sense I feel from the landscape as well as to create the up-close excitement of color, texture, and expression on the surface of my paper. I hope that the viewer feels the same sense of calm and delight that I feel when the sun drops behind the trees lighting up the water and the leaves along the pond’s edge. |
Turner’s Pond has quite a history. This town gem that is named after Jacob A. Turner,
and was largely a swamp in the 1870’s. Early in the 1880’s, he established The Milton Ice Company
by dredging and damming “Aunt Sarah’s Brook” nearby, to create an ice pond
that yielded about 4,500 tons of ice annually. The old dam was a landmark for many years.
Jacob Turner’s son, Roger F. Turner (1901‐1993), an American figure skater
who began his career skating on Milton’s ponds, made Turner’s pond famous.
His first major win was the 1926 U.S. Junior Men’s Championship and for seven consecutive years, 1928-‐1934, Turner was the U.S. Men’s Figure Skating Champion.
The Town of Milton acquired Turner’s Pond in the 1950-60’s, adding it to the town’s park system.
and was largely a swamp in the 1870’s. Early in the 1880’s, he established The Milton Ice Company
by dredging and damming “Aunt Sarah’s Brook” nearby, to create an ice pond
that yielded about 4,500 tons of ice annually. The old dam was a landmark for many years.
Jacob Turner’s son, Roger F. Turner (1901‐1993), an American figure skater
who began his career skating on Milton’s ponds, made Turner’s pond famous.
His first major win was the 1926 U.S. Junior Men’s Championship and for seven consecutive years, 1928-‐1934, Turner was the U.S. Men’s Figure Skating Champion.
The Town of Milton acquired Turner’s Pond in the 1950-60’s, adding it to the town’s park system.
#1—Color Study:
When I am captivated by a scene, I first start out with small thumb nail sketches
followed by a small color study that is done on the same paper I use for the final painting.
Studies need to be a reaction to the scene and to leave out details.
This small color study is done quickly to provide a plan for colors, composition, and expression
before starting on my painting. I try to use only a few amount of strokes,
limit my time to under 10 minutes, and limit my colors.
I start with a notan, the Japanese term for flat black and white design that creates balance in a painting. Once I create this either in ink or black magnum sharpie,
I quickly swipe in my strokes of color thinking of value and shape as I go.
These can be used for the same scene or used for a color reference for another painting.
followed by a small color study that is done on the same paper I use for the final painting.
Studies need to be a reaction to the scene and to leave out details.
This small color study is done quickly to provide a plan for colors, composition, and expression
before starting on my painting. I try to use only a few amount of strokes,
limit my time to under 10 minutes, and limit my colors.
I start with a notan, the Japanese term for flat black and white design that creates balance in a painting. Once I create this either in ink or black magnum sharpie,
I quickly swipe in my strokes of color thinking of value and shape as I go.
These can be used for the same scene or used for a color reference for another painting.
#2—Linear Start:
Once I have my thumbnails and color sketches complete, I begin my large painting.
I use PastelMat paper because of it’s smooth surface.
It holds the pastel and takes a wet underpainting if done with water.
I start with lines using either a Tombow marker or a china pencil.
These lines give me a sense of the landscape, direction and gesture of the scene,
and a way to create and break up shapes.
I use PastelMat paper because of it’s smooth surface.
It holds the pastel and takes a wet underpainting if done with water.
I start with lines using either a Tombow marker or a china pencil.
These lines give me a sense of the landscape, direction and gesture of the scene,
and a way to create and break up shapes.
#3—Sumi Ink Underpainting:
Underpaintings can be wet or dry, using marker, inks, and pastel.
They help by creating a map of shapes and values for your foundation.
I work with an ink underpainting because of the expressive, watery effect it has on the paper.
I love the drips and the dark and lighter shades created with water.
I also like to have my darks and black underneath my pastel
to serve as a foundation and structure that holds the painting together.
As you can see with this underpainting, I really like the ink! Sometimes, like now,
I leave just enough paper to give me a sense of the landscape.
They help by creating a map of shapes and values for your foundation.
I work with an ink underpainting because of the expressive, watery effect it has on the paper.
I love the drips and the dark and lighter shades created with water.
I also like to have my darks and black underneath my pastel
to serve as a foundation and structure that holds the painting together.
As you can see with this underpainting, I really like the ink! Sometimes, like now,
I leave just enough paper to give me a sense of the landscape.
#4—Painting with Pastel:
Once the sumi ink is dry, I start by cutting in negative shapes with color.
I work with middle values and my brightest lights to get a sense of my color and value range.
I mostly use brands such as Terry Ludwig, Blue Earth, Great American, and Diane Townsand.
There are varying degrees of softness, from hard—having more binder to hold the stick together,
to the very soft with more pigmant and less binder.
The softness of these pastels allows you to use hard pressure to cover
and make bold statements with your marks.
I like to vary my marks and use direction to help create the gesture of the scene
as well as help the viewer move around the painting.
I work with middle values and my brightest lights to get a sense of my color and value range.
I mostly use brands such as Terry Ludwig, Blue Earth, Great American, and Diane Townsand.
There are varying degrees of softness, from hard—having more binder to hold the stick together,
to the very soft with more pigmant and less binder.
The softness of these pastels allows you to use hard pressure to cover
and make bold statements with your marks.
I like to vary my marks and use direction to help create the gesture of the scene
as well as help the viewer move around the painting.
Finished Pastel:
"End of Day"
Image 18" x 18," Framed 24" x 24" SOLD
Image 18" x 18," Framed 24" x 24" SOLD
Additional Pastels in the Exhibit:
"Through the Woods"
Image 18" x 12," Framed 21" x 15"
Image 18" x 12," Framed 21" x 15"
"Lighting the Way"
Image 12" x 12," Framed 16" x 16"
Image 12" x 12," Framed 16" x 16"