Question for pastel artists

[Mary Sparrow]

I have not been using a fixative on these pastel portraits. The few times I tried it really darkened the painting. When I read that many artists don't use it I figured I wouldn't either. However, I am noticing a problem after a bit of time passes, there are several that seemed to have "pitted" for lack of a better description. It seems that some of the top layers, mostly visible in the skin areas, have just disappeared in spots making the skin look very splotchy.

What am I doing wrong? I have noticed that this happens more on some surfaces than others. The paintings done on Wallis and La Carte have not done this at all. The paintings done on Canson and Art Spectrum paper have all done it to some extent. Any thoughts or help would be appreciated. If I am not making sense I can try to take a picture of one to show.

[Sharon Knettell]

Mary,

I have noticed this myself, but only on paper surfaces. There is less pastel adhesion on paper that on a gritty or sanded surface. I have not used a Wallis paper, but use the Golden Acrylic Ground for Pastel on various hard surfaces. The pastel adheres to that beautifully.

From my experience , pastel on paper has to be done with fewer layers and less reworking, so since I have a heavy hand I like the ruggedness of that surface.

There is a wonderful paper something like the Wallis. It comes in two sizes, one quite large and in many gorgeous colors. www.nycentralart.com will send you out a sample packet for $5.00. It is made by Diane Townsend who also has her own famous line of pastels. It is a pigmented surface and will not fade like the Canson. They also have the best paper catalogue in the world and that is free. I have seen samples of the Art Spectrum and it does not look like it has enough tooth to me, so I have never used it.

I think sometimes we are afraid to use ground that are a bit rough, because we feel that would give a less than a desirably smooth finish. However, by the time I plaster on my pastels the tooth is s SO filled up, it could have been done on cement! Alicia Blue was done on a really rugged surface. I know because where I prepare my surfaces is an unheated spray room, and when it is cold I knock 'em out as fast as I can! BRRR!

I personally have had more luck doing pastel studies on paper rather than full bore pastels.

What fixative are you using? I like the Rowney Perfix. That is the one Dakota pastels mainly recommends. I find it does not shift the color markedly if at all, but then again I use several light layers and don't blast it.

Interestingly enough, Daniel Greene, in his out of print book "Pastel", uses pastel fixative to darken the under layers so the top layers really glow. This book is really worth searching out for a second hand copy.

I hope this helps. Good luck with your project!

[Mary Sparrow]

Thank you Sharon.

So, you have noticed this too? That makes me feel a little bit better.

I usually do try to use a sanded surface, I will try out that you recommend as well. I have used Wallis and really liked it, but my work seems to "glow" more on the la carte and art spectrum paper.

I have never used a fixative simply because it did alter the appearance. However, I just ordered some Lascaux which came in the mail today, maybe I will try just doing the under layers.

I'm glad you recommend that book! I just won a copy of Daniel Greene's "Pastel" on ebay and it came last week, I just haven't had time to read it.

[Sharon Knettell]

Mary,

Lascaux is good also.

You are lucky to get that book. I lucked out and got the last copy available anywhere for sale at the Rhode Island School of Design Art Supply Store. Which I might add after teaching there for three benighted years, was the most positive thing to happen to me.

It may also be true that fixative will darken a more absorptive paper surface, than an acrylic or sanded surface.