Basic pastel questions

[Geri Comicz]

Hi Chris,

Thank you for your response. In a previous post, you stated you enjoyed using a grey-greene pastel paper. Since I began pastels, I have basically undercoated a portrait in 3 values of green. I am not quite sure how I started doing this, but enjoyed the tones of the greens showing through the over painting.

I was wondering if you could share what paper that is as Canson has no paper color listed as "grey-green." I have been using Canson felt grey and their tan which appears to have a hint of a grey-green value.

Also, regarding the underpainting on paper. Yes, the Canson buckles with applied moisture. Although, just experimenting with liquids, the turp and pastel dry flat and leave a very enjoyable texture. My only fear is over a period of time what the turp would do to the paper.

Thanks again,

Geri

[Chris Saper]

Hi Geri,

Try the Canson color "Sand". I have used the Felt Grey (I recall it being warmer than the Flannel Grey), and also like it very much.

The correspnding color in the La Carte paper is "Light Grey", a very warm greenish-gray.

[Virgil Elliott]

Keep in mind that many (probably most) colored papers will fade, so if you leave any of it uncovered, it is very likely to change over time.

Virgil Elliott

[Chris Saper]

I have noticed that this fading does occur over time. However, I can't say that it has ever been evident to me unless I have had occasion to open the pastel, perhaps to clean the mat, and move the matboard. I am not sure how effectively UV glass might retard or prevent the fading, though.

[Virgil Elliott]

Chris,

UV filter glass would help a little, but don't expect miracles from it. If you want to leave parts of the ground showing, it might be better to color it with acrylic paints or gesso mixed with acrylic paints whose pigments are rated as ASTM Lightfastness I before painting over it in pastel. Golden makes a toothy gesso especially for pastels that looks to me to be a very good product. Before I'd trust any pastel paper not to fade, I'd test it to see, by putting a sample of it in a south-facing window for a year or so, with half of it covered with a black mask, and the other half exposed. Things can change drastically in 50-100 years in normal light that do not show up so noticeably in just a few years. Direct sun is a good accelerated-aging test for lightfastness.

Virgil Elliott

[Geri Comicz]

Dear Chris and Virgil,

Thank you both for your valuable suggestions and taking the time to make them.

I enjoy both Canson Felt Grey and Tan. I certainly will try the LaCarte Light Grey.
The idea of acrylic and gesso intrigue me and I will certainly experiment.

Thank you both again.

Geri

[Gene Snyder]

Hi Winnie,

It's been a while since I created this piece (about 7 years), so bear with me on trying to explain it:

I was able to get a finely blended effect on the portrait below by using a very soft brush (like a make-up brush or large watercolor mop). First, I drew a very light outline drawing in white pastel pencil (on burgundy paper). Then applied soft pastels to mass in the large shapes of color, trying to cover the whole paper to get an idea of value and color relationships. Not really worried about detail at this point, just relationships. Then, gradually went in and used hard Nu-Pastels to bring out some details, until finally ending with hard pastel pencils for the fine details (can't remember the brand name of these).

Between each step, actually with each application of pastel, I blended them using the brush. I'm pretty sure I used the smooth side of Canson paper. By the time I was done, there was a HUGE pile of pastel dust on my easel and the floor.

I've heard that blending is the big "no no" in pastels and not sure how "against the rules" this technique is, but hey, it worked for me. I know that Daniel Greene applies color directly and doesn't manipulate the pastel once it touches the paper working from dark to light in stages. His portraits are very vibrant, with a full range of light to dark.

Hope this helps.