Tag Archives: Michaela Harlow Pastels

Field Notes from Early March

Michaela Harlow, Early March Traverse, Graphite and Soft Pastel on Paper, 15 x 12Early March Traverse, 2016, Graphite and Soft Pastel on 15″ x 12″ Handmade Paper 

Having a really, really, long, steep driveway has many disadvantages in winter. The weather that inspires so much of my work —rain, ice, freeze/thaw, swirling flurries— is the complete enemy of traction. I’ve sanded my driveway more times than I care to count (gathering 8-12 buckets from the town yard and sprinkling by hand as I back up). However, there are distinct advantages. When I’m unable to drive to the top of my hill, I am forced to hike up and down or groom the road; good for my health and excellent for natural observation.

A couple of favorite drawings from the week.

Michaela Harlow, The Light of Spring, 2016, Graphite and Soft Pastel on Paper 15 x 12The Light of Spring, 2016, Graphite and Soft Pastel on 15″ x 12″ Handmade Paper 

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A Moment for Peace: Artist Talk on Friday, March 6th Brattleboro, Vermont

October_Thicket_2014_Michaela_Harlow_michaelaharlow.com ‘October Thicket’ 2014, Pastel on Paper

 I’ve been invited to give a brief talk this Friday evening —March 6th at 5:30 p.m. in Brattleboro, Vermont— about the relationship between artist and natural environment as part of the creative process. This special “Moment for Peace” will focus on conservation of woodlands as peaceful places for contemplation and meditation. The talk is open to the public and all are welcome to attend.

“Moment for Peace” takes place at 5:30 p.m. in the church parlor meeting room at the Brattleboro Centre Congregational Church, 193 Main St., Brattleboro, Vermont. For more information visit the Gallery Walk website or call (802) 257-4588

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Weatherhead Hollow

IMG_8639.JPGWeatherhead Hollow, 2014 – Michaela Harlow – Pastel on Coldpress, Deckle Edge Paper 20″ x 16″

When driving back to my Vermont studio on autumn mornings, I’m inclined to take more circuitous routes than I do on summer days. Perhaps this is because I love a foggy landscape, and backroads are less traveled. I can pull over most anywhere and not get in the way of traffic. Sometimes I will stumble my way through a half mile of bramble to get a look at light on a flooded meadow. Such are the delightful things you can get away with on solo-drives, when no one is waiting impatiently in the car.

Weatherhead Hollow.

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Weatherhead Hollow, in process

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Seven Summers Archival Prints Available Soon!

20140823-104214-38534947.jpg Archival Prints of the Seven Summers Series are in Process! 

It’s been pretty quiet on the blog for the past week, but it’s been really busy behind-the-scenes. A great deal of packing and art shipping happened last week. And on Tuesday, I spent the day at Panopticon Imaging in Rockland, Massachusetts (about 5 1/2 hours, round trip, and worth every minute), to have original artwork scanned, and meet with the pros on archival printmaking.

Over the past year or so, I’ve discovered that for many people —even if they love a particular piece— an original pastel or oil painting may not work for their home or professional situation. In an insecure space  —such as a meeting room, lobby, lounge, restaurant, waiting room or other public space— there may be concerns about vandalism/damage to original work or even theft. Prints can reduce or eliminate exposure to loss (prints are usually covered by insurance without an art rider). Other times, original artwork is physically too large for a space, or perhaps the need for a wide-border bridge-mat on a pastel painting is undesirable (and original pastels all require large bridge mats; increasing their physical size). Of course sometimes, the cost of original artwork —or multiple pieces in the case of interior design applications— isn’t in everyone’s budget. I decided that by offering high-quality, archival prints, my artwork will be accessible to a wider audience and can be easily purchased/shipped online. I like that idea!

photo 1 Panopticon Imaging’s Paul Sneyd and I, looking over my original artwork, before it passes through the high resolution scanning process. Photo courtesy of Shannon McDonald.

Archival prints of my work are created from high-resolution scans of the original paintings. Panopticon’s team of skilled photographers and editing experts took the utmost care in accurately reproducing my artwork. I was present during the image editing process and both the color accuracy and textural detail of the scans is phenomenal. In addition, each piece will be printed on cold press, watercolor paper —nearly identical to the type used in creating the original pieces— guaranteeing a beautiful, authentic-looking reproduction.

So, if you’ve always wanted to have one of my pieces in your home or professional space —but your favorite painting was sold or you were deterred by security, size or price— your opportunity is coming soon!

photo 2 Original artwork, preparing for high-resolution scan at Panopticon. Archival prints of these pieces will soon be available in various sizes. Photo courtesy of Shannon McDonald.

After a few road bumps, detours and delays, soon, the online shop will be open and select, archival prints of pastel paintings on cold press paper will be available for sale and shipment. I’m excited to offer archival prints for sale online for the first time ever, and I’ll be starting with the very popular Seven Summers series. Look for a special print give-away and shop details to be announced in an upcoming post as well as on Instagram, Twitter and Facebook.

A big thank you to Paul, Bruce, Shannon, Chris and Greer at Panopticon Imaging for their professional expertise, efficiency, and beautiful results on this project!

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