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Pastel Painting
Pastel Painting
What is Mediapedia?
P astels are simple to use, with no drying time, allowing the
artist to draw directly on the surface without any intermediate
tool or medium to degrade the freshness of the color. The colors are
Mediapedia is an encyclopedia of art media. The
Artist’s Magazine is profiling a different medium in
brilliant, and a variety of techniques can create a wide range of effects, each issue this year. Next up: oils.
from crisp lines to soft edges and feathery textures. The medium is very
forgiving—mistakes can be easily lifted from the surface up to the
moment a fixative is applied.
Pastels are made from powdered pigments mixed with just enough
binder to be formed into sticks. They’re dry and can be applied in a Firm pastels such as
linear manner, so you could say the artist draws with pastels. But because Prismacolor Nupastels
they can also be applied in larger strokes and blended on the surface, it’s hold a point well and
also accurate to say an artist paints with pastels. The are especially good for
fine, powdery surface of a pastel painting refracts the preliminary drawings.
light to give it a sparkling quality.
Powdered pigments have been used since
prehistoric times, but pastels as we know
them date from the late 17th century.
Pastels became very popular in the late 1800s
as Manet, Degas, Renoir and Toulouse-
Lautrec used them. Degas in particular
explored the potentials of pastels
by combining them with other
media and pioneering the use
of fixatives.
Pastels can be purchased in
sets, some in handsome wooden
boxes, or individually in “open
stock.” There are dozens of
different manufacturers of pastels,
including boutique brands that
make pastels by hand from the
finest pigments.
October 2009 ■ www.artistsmagazine.com
Chemistry
Pastels are made from finely ground pigment mixed with chalk or clay and a
binder, such as gum arabic or gum tragacanth, and formed into a stick. Their
Soft pastels, such as these by Terry colors can’t be mixed on a palette like paint, but must be mixed on the draw-
Ludwig, are easy to blend ing surface by blending, layering or using other techniques such as scum-
and have a rich color and bling (see opposite page).
velvety texture. Pastels vary in hardness by manufacturer. Hard pastels have more
binder than the softer pastels, and their colors may not be as vivid. Hard
pastels are good for preliminary drawing in particular because they can
hold a point and create crisp lines and details. Softer pastels contain less
binder and more pigment, a ratio that gives them a rich color and velvety
texture. They’re easier to blend and smudge than hard pastels, but soft
pastels are more delicate, are easily broken and create more dust. The
hardness of the pastel will affect the results of the techniques you use.
Some of the most popular brands of pastel include Girault (soft),
Great American (soft), PanPastels (soft), Prismacolor Nupastel (hard),
Rembrandt soft pastels (medium), Schmincke soft artists’ pastels (soft),
Sennelier (soft), Terry Ludwig (soft), Unison handmade pastels (soft),
and Winsor & Newton soft pastels (medium).
point and to scrape off unwanted deposits of pastel from your work sur-
face.
■ Tracing paper: This is useful to protect your work from smudging as you
paint.
■ Protective gear: Dust masks, gloves or protective hand cream are
advisable.
■ Wet wipes: These are handy to clean up the pastel dust that didn’t
1 2 3 4 5 6
Drawing with the tip of the create different effects and textures by how form and shape by varying the direction of
1 pastel: Holding the pastel stick like a much or how little you mix the colors. the cross-hatching.
pencil produces lines of varying width and You can blend with your fingertips, but Scumbling: Scumbling with pastels is
character depending on the hardness of the the risk of ingesting the pigments warrants 5 very similar to scumbling with paint.
pastel and the pressure and speed of the using protection. Also, a pastel surface can You apply a broken layer of color on top of
hand. be rough enough that using your fingers can another layer of color, allowing the bottom
Drawing with the side of the pastel: lead to bleeding. Other tools include paper color to remain visible. This technique works
2 Using the side of the pastel stick pro- stumps, kneaded erasers and cotton swabs best on a textured surface and with soft pas-
duces broad strokes or blocks of color. The for precise work; facial tissues, paper towels, tel applied over hard. Try fixing the bottom
character of the stroke depends on the soft- cotton balls and small, soft natural sponges layer before applying the top layer.
ness of the pastel, the shape of the stick, the for larger, less precise work. Soft brushes are Working on a colored ground: Apply
texture of the drawing surface, and the pres- good, if they don’t stir up dust. 6 pastels to a colored surface such as
sure and speed of your hand. Breaking a stick Hatching and cross-hatching: Hatch- toned paper or a board, panel or canvas
in half may be necessary for a more manage- 4 ing is drawing fine, closely spaced par- painted with a colored ground or pastel
able stroke. This technique works best with allel lines to create an area of color and value; primer. Allowing the colored ground to peek
softer pastels. cross-hatching is drawing similar lines per- through creates vibrant color. Many pastel
Blending with pastels: Unlike paint, pendicular to the first. This technique works artists use an underpainting of watercolor or
3 pastel colors can’t be mixed before best with harder pastels or pastel pencils and pastel to tone a piece of white pastel paper.
being applied to the drawing surface—you is useful to create texture or to allow the
must select a stick of the appropriate color or eye to create an “optical blend” when differ-
blend colors directly on the surface. You can ent colors are used. You can create a sense of
Support System
Select a pastel surface that best suits your working style.
Smoother Surfaces
Canson Mi-Teintes, smooth side: A Canson Mi-Teintes, textured side: A Somerset Velvet, white: This Somerset Velvet, black: While the
fine line made with a pastel pencil line made with a pastel pencil breaks smooth surface holds a line quite paper is the same, changing the
holds up well, while a single applica- up due to the texture, while the appli- well. A single layer of soft pastel color of a surface affects the pastel’s
tion of soft pastel nearly covers the cation of two layers of pastel has still (purple) doesn’t fill the tooth; two appearance. The pastel pencil line,
surface. not completely filled in the texture. additional layers (red and pink) cover the single layer and multiple layers of
well and still leave room for further color all “pop” from the background
layering. color.
Rives BFK Printmaking Paper: A thin Aquarelle Watercolor Paper: Both Multimedia Artboard: This surface Hahnemühle Velour Paper: Note
line holds up well, and one layer of a pastel pencil line and a swatch of isn’t as smooth as it appears at first that even a fine line made with a pas-
soft pastel covers the surface almost color show the texture of the paper. touch. Note the breaking-up of the tel pencil “bleeds” out to a soft edge;
completely. Additional layers could still be applied pastel pencil line; a single layer of pas- a single pass of color laid on with a
without filling the tooth. tel doesn’t fill the tooth. Even after medium-soft pastel has fuzzy edges
additional color is layered on, there’s and a soft look.
still visible grain.
UART: Ersta paper fans will feel at home on this Sabretooth: The textured surface breaks up a pas- Saint-Armand Sabretooth pastel paper:
updated surface, which allows delicate lines, lay- tel pencil line, but allows multiple layers of pastel Sabretooth has been around for some
ering and underpainting. The swatch on the right to build without filling the tooth. time, but this surface has been revised
was washed with Turpenoid, creating a smooth fill recently. It’s a rag-based paper made in
of the surface without destroying the tooth. Canada—archival, acid-free, lightly tex-
tured and internally sized. The acrylic-
Lavender No. 4, France (12x16) by Urania Christy Tarbet was painted on Ampersand Pastelbord, a textured surface rigid enough to frame without matting.
Rug Sale, Marbella (11x14), by Maggie Price, was created on Rtistx pastel board.
based sand coating is applied with a roller ing in most any medium, or any kind
to achieve an even textured surface. The of liquid wash over pastel. After apply-
coating will take both water and sol- ing an underpainting—and using very
vent-based washes, and can withstand soft pastels—you can still get quite a
vigorous scrubbing and reworking. It’s few layers on the surface without filling
available in nine colors in sheets of 22x30 the tooth. The surfaces are available in
or packs of four 15x20 sheets of a single seven colors and in a range of sizes. The Richeson Premium Pastel Surface: Fine lines
color. Gatorfoam board and the Hardboard with a pastel pencil break up a little, while
can easily be framed without mats, and strokes with soft pastel show the texture. Layers
Colourfix Supertooth: Art Spectrum’s their rigid surfaces make them ideal for upon layers can be applied to this surface. The
Colourfix Supertooth painting boards plein air work. red swatch on the right was washed with Turpe-
have a more aggressively toothy surface noid for a smooth covering of the surface with-
than the standard Art Spectrum Colour- Rtistx Pastel Board: This new pastel out filling the tooth.
fix papers. Supertooth is made by coating surface is fused to a lightweight, rigid
500-gram, acid-free, archival watercolor polyvinyl board. It comes in two grades:
boards with a specially formulated clear 240 (heavier grit, in taupe) and 280 (not
acrylic primer mixed with silica particles. as coarse, in white, and often used for
The clear coating allows the natural warm oils as well as pastels). The surface is
white color of the board to show through, acid-free with a pH-neutral coating. Sizes
and the rigidity of the heavyweight board range from 8x10 to 18x24. The manufac-
provides a stout working surface. The sur- turer recommends not using alcohol or
face of this paper can hold many layers of acetone with underpaintings, though
pastel, and can be underpainted with any Turpenoid or water work well. Like other
medium. board surfaces, you can frame without Rtistx Pastel Board: The textured surface can
mats. handle numerous layers of pastel, though the
Richeson Premium Pastel Surface: color covers quickly and easily. The swatch of
This new pastel surface is produced on Maggie Price (www.maggiepriceart.com) is red on the right was washed with Turpenoid and
three different substrates: 140 lb. paper, a contributing writer for The Pastel Journal, a dried before the pink stroke was applied.
1 /8 -inch hardboard and 3 /16 -inch Gator- pastel artist and teacher, and the co-founding
foam board. It’s an aggressively toothy editor of The Pastel Journal. Her book, Painting
surface, and will hold many layers of With Pastels, was released last year from North
pastel. It accepts liquids for underpaint- Light Books.
BEFORE
first layer of color
To paint soft, fluffy clouds, first apply pastel to a
sanded paper, or other surface with a fair amount
of ˝tooth,˝ using a number of colors. Clouds aren’t
just white! Look for pale pinks, lavenders, yellows,
greens, blues and grays, and put all the colors you
see on the paper. Put enough pastel on the surface
to blend, but not so much that the grain is filled.
AFTER
colors blended together
Using the side of your hand, you can blend the
colors together with a circular motion, bringing
them right over the edge of the blue sky. More
pastel can be added after the first blending.
2b drawing pencil
watercolor paints
Cadmium Yellow, Cadmium Red Orange, Burnt
Sienna, Alizarin Crimson, Ultramarine Blue,
Cobalt Blue, Paynes Gray, Sap Green
pastels
light warm white, middle-value lemon yellow,
middle-value yellow-orange, light ochre yel-
low, middle-value orange-brown, middle-value
ultramarine blue, light ultramarine blue, light
cobalt blue, dark blue-green, light green-blue,
1 Make the Sketch for the Studio Piece
If you have any concerns about the composition, make a few thumbnail
sketches. Otherwise, begin a pencil drawing with an ordinary 2b sketching pencil
middle-value turquoise blue, middle-value warm
green, light warm green, light yellow-green, dark on a piece of 14" × 18" (36cm × 46cm) white Wallis Museum-Grade Paper, mount-
orange-green, light blue green, middle-value ed on an illustration board. Work out the details of the composition and become
warm violet, light warm violet, dark blue-gray, familiar with the subject. Most of the drawing will be lost once the painting is
middle-value blue-gray, light blue-gray, dark vio-
started, but this allows you a chance to make sure everything is correct before
let-gray, light violet-gray, middle-value gray-green
adding pastel.
Look for rhythms and movement as you explore the subject in the drawing, and
make changes and improvements from the initial field sketch. For example, mov-
ing the horizon higher in the studio composition adds more distance and a stron-
ger sense of being grounded. The addition of a closer peninsula on the far right
helps balance the composition.
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