[Chris Saper]

Hi Winnie,

Here are my thoughts on the questions you pose:

1. The color of the paper is mainly dependent on the value design you want for your painting, and certainly whether it will be a vignette. If you will be covering the entire surface, a toned paper works well when it represents the dominant value. If you have a lot of darks, it is, as you know, difficult to cover a light ground well, unless you use a surface (like Wallis paper) that takes an underpainting well. If your piece is predominantly dark, it works well to go with a little darker value. If I am underpainting, I underpaint directly on the white Wallis paper. If I am painting the entire surface, and also if I am painting a vignette, I will typically use a middle or middle light grayed-down green surface, regardless of the value of my subject's skin. It is a rare circumstance that you would show anyone's skin without warmth in its hue, and therefore the green acts as a complement to the warmth of human skin, and looks wonderful when it shows through. It adds a cool element that can be very subtle, but very important,as well.

In painting a vignette, both color and value of the surface count. I prefer to stay with cooler colors, whether green, red, etc, and desaturated colors. However, I have used yellows and ochres when my subject is primarily cool. There's no substitue for experimenting!

In summary, I think the design, value plan and mood of the piece are much more important than the value of the subject's skin.

2/3/4. I have had such poor experiences with fixatives, I don't use them and can't help.

5. You can get a velvety smooth surface with Canson (yes, use the smooth side), La Carte (Sennelier), Art Spectrum, and Sabretooth. I think the La Carte is easiest to control.Wallis has a very stong tooth, but if you build layers, you can get a smooth look as well. Ther may be others as well, I just don't have any experience with them.

6. There are not a lot of technique oriented books out there, try Harley Brown's "Eternal Secrets for Every Artist". Wende Caporale's, "Painting Children's Portraits in Pastel" has a number of step-by-step examples, and she focuses on the light-skinned subject. Best though, is to order Daniel Greene's video tape, Erica, as you can actually watch what is going on.

7. I don't know of any on-line classes, but check out the Pastel Journal, which publishes in every issue an enormous list of pastel-focused workshops. Identify the painters you admire most and then attend their workshops.

Good luck amd welcome to the Forum!

Chris