Table Of ContentPastel Painting
5 Articles on Pastel Basics for Artists
Ta b l e o f Co nTe nT s
seCTion one seCTion T wo
■ What You Need to Know to Start From Painting with Pastels: Easy Techniques
Pastel Painting by Greg Albert to Master the Medium by Maggie Price
(from The Artist’s Magazine, ■ Blending Colors . . . . . . . . . . . . . . . 15
October 2009) . . . . . . . . . . . . . . . . . . . 4 ■ Tools for Blending . . . . . . . . . . . . . 16
■ Using Color Studies as a
■ Support System: Select a Pastel
Reference by Richard McKinley . . . 17
Surface That Best Suits Your Working
Style by Maggie Price (from Pastel
More PasTel resour Ces
Journal, June 2008) . . . . . . . . . . . . . . . 8
seC Ti o n on e
Pastel Painting: 5 Articles on Pastel Basics for Artists | 3
Mediapedia By Greg Albert
■
What is Mediapedia?
Pastels are simple to use, with no drying time, allowing the
artist to draw directly on the surface without any intermediate Mediapedia is an encyclopedia of art media. The
tool or medium to degrade the freshness of the color . The colors are 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 .
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■ Greg Albert, author of The Simple Secret a
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to Better Painting (North Light Books), lives azin
in Cincinnati, Ohio. To order his book, go to e
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www.northlightshop.com. om
Pastel Painting: 5 Articles on Pastel Basics for Artists | 4
You can download past Mediapedia arti-
cles in our shop at www.northlightshop.
com/category/artists-magazine.
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) .
Must-have tools Tips and
Techniques
■ Drawing board and clips: A rigid surface is a must when working on paper. Pastel techniques are similar to draw-
■ Boxes for the pastels: Working with loose, disorganized pastels is inefficient ing and painting techniques. Try the
and frustrating. Get into the habit of limiting the number of loose sticks in your techniques listed at the right with
work area. Storage boxes will keep your pastels organized while you work and pastels of different brands and
assist in inventory control. degrees of hardness—each will create
■ Kneaded erasers: Use these for blending as well as for removing pastel from a slightly different result.
the surface.
■ Blending tools: Try various tools, such as paper stumps (also called
torchons or tortillons), cotton swabs, facial tissue and paper towels.
■ Razor blade and craft knife: Use these to sharpen hard pastels to a
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
make it to the work surface.
■ Fixative: Workable fixative protects your work from smearing
but leaves it open for reworking; permanent fixative protects it from
damage and seals it from further alteration.
Pastel Painting: 5 Articles on Pastel Basics for Artists | 5
Safety and Cleanup
The downside to the soft consistency of pastels is the increased possibility of acci-
dentally ingesting the pigments. Although most pastels have an AP non-toxic label,
some have the CL (“Caution Label”) seal indicating they’re toxic or hazardous if not
used with appropriate caution.
Because pastels have so little binder, they easily generate dust that’s hard to Colorfix PanPastels are relatively new. The
contain, and you should take care not to breathe it in. Don’t blow loose powder off soft pastels, which come in small trays, are
the surface as you work—you risk inhaling it. Instead, tap the work over a applied with soft foam tools in a
waste bin to remove dust, and after each painting session, wipe down process similar to painting.
your work area with a wet paper towel; use a wet mop or a vacuum
with a HEPA filter to pick up any residue that has fallen to the floor.
If you work close to the paper, consider wearing a dust mask.
Blending pastels with the fingers is also a natural
impulse. It’s highly recommended to use gloves or a pro-
tective hand cream—such as Winsor & Newton Artguard
barrier cream, EZ Air Invisible Care, Invisible Glove or Mar-
velous Marianne’s SkinSafer barrier cream.
The usual precautions should be observed scrupulously with
pastels: Keep food and drink away from your work area and
never smoke while you work. Wash your hands thoroughly with
soap and water after using pastels.
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
5
character depending on the hardness of the the risk of ingesting the pigments warrants 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
6
texture of the drawing surface, and the pres- good, if they don’t stir up dust. 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
4
in half may be necessary for a more manage- 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
Pastel Painting: 5 Articles on Pastel Basics for Artists | 6
Soft pastels, such as these by Girault,
are easier to smudge, but matting
your work behind glass will help
protect it.
s
Q
Are pastels a permanent medium?
Pastel is a fragile medium. Once prop-
Aerly fixed and appropriately framed, pas-
tels will remain as applied. As long as you use
F
high-quality cotton or linen rag paper, pastels won’t
crack, crumble or disintegrate. The lightfastness of pas-
tels is almost completely determined by the pigments
used; as with most artwork, prolonged exposure to
direct sunlight should be avoided. How many pastel colors do I need?
A common mistake beginners make is buying too many
How do you properly fix a pastel painting? colors. Limit your selection to a range of warm and
Unless sprayed with a protective artists’ fixative, pastel cool colors from each of the primary and secondary
artwork is subject to smudging and smearing, particu- hues, plus a few earth colors, neutrals or grays, black
larly if you use softer pastels. Using workable fixative and several sticks of white. You can augment your col-
protects your work from smearing but leaves it open lection with extra colors as needed. About 30 sticks is
for reworking; a permanent fixative protects it from a suitable number for a beginner’s pastel box. As you
damage and seals it from further alteration. develop a style, you’ll determine quickly which colors
Some pastel artists find that fixatives darken you use most.
their paintings; some new fixatives are addressing this
problem with good results. Can I clean my pastel sticks?
Matting and framing your work behind glass is the The fastest way to clean a pastel stick is to wipe it with
best way to keep it pristine. To store your pastel works, a paper towel. Or you can shake pastels gently in a lid-
keep them flat in boxes or a flat file with sheets of ded container of cornmeal or uncooked rice to remove
glassine between the drawings to minimize smearing. unwanted color.
Surfaces for Pastels
The most important consideration when selecting a surface for pastel work is the sur-
face’s “tooth”—the ability of its texture to grab and hold the pastel particles . A slick
or smooth surface has little to no tooth and won’t hold the pastel . On the other hand,
a very rough surface may not allow the pastel to cover completely . Much depends on
your personal preferences .
Most papers suitable for charcoal work well for pastels because they have a suf-
ficient tooth . Popular papers include Canson Mi-Teintes, Canson Ingres, Strathmore
500 Series and Fabriano Tiziano .
From left to right, you can see the effect of a soft pas- There are several papers made especially for pastel, such as Hahnemühle Velour
tel used on Strathmore watercolor paper, Strathmore and Bugra, Amalfi handmade and Sennelier Papier Carré .
charcoal paper, Mi-Teintes pastel paper and Colour- Some papers have coatings containing very fine particles to hold the pastel, such
fix coated pastel paper. as Wallis sanded pastel paper, Art Spectrum Colourfix coated pastel paper and Super-
tooth board, Sennelier La Carte pastel card and Ampersand Pastelbord .
Finally, you can apply primers and grounds to paper,
board or canvas panels to make them receptive to pastel .
Try Art Spectrum pastel and multimedia primer, Golden
pastel ground or Lascaux pastel ground .
Pastel Painting: 5 Articles on Pastel Basics for Artists | 7
special report By Maggie Price
Support System
Select a pastel surface that best suits your working style.
The First Kiss of Fall (16x20) by Maggie Price was cre-
ated on Richeson Premium Pastel Surface (terra cotta
Gator Foam).
Notice in the detail (above) how the texture of the
surface adds to the quality of the stucco wall, and
the terra cotta color of the surface gives the whole a
warm glow.
Whether you’re an experienced pastel underpainting . While fine lines and mind that certain surfaces are well-
artist or just getting started, choos- detail are by no means impossible on suited for those approaches, while oth-
ing a surface for a painting has a lot to do textured surfaces, some surfaces work ers can’t be touched with liquid or only
with the final outcome . As the medium better than others for those purposes . with certain liquids .
of pastel has continued to gain popular- Many surfaces come in a variety of The durability of the paper is
ity over the last dozen or so years, the colors, and the color you choose has a another factor . If you tend to rub, scrub,
number of surfaces available to the artist profound effect on the resulting paint- erase and generally abuse the surface,
has grown steadily . Here are some of the ing . You can choose a color that will you obviously want something tough
important factors to consider as you sort show throughout, creating harmony enough to take it . If you have a light
out the options . and balance, or you can select a con- touch and a delicate approach, the
Generally, pastel surfaces can be trasting color that will add excitement heavy-duty stuff is probably wasted on
grouped into two broad categories: and energy . If you like to start your pas- you .
smooth and textured . Smoother surfaces tel painting with a preliminary under- Trying a lot of different surfaces
may only allow two or three layers of pas- painting, you’ll probably want to start will lead you to those most suited to
tel, but if you like to work quickly, that with white or a very light color . your working style, and the experi-
may be sufficient for your needs . The Underpaintings give a new dimen- mentation may push you in surpris-
smooth surfaces also work well for highly sion to pastel paintings . Some sur- ing directions as well . Even if you’ve
detailed work or subjects requiring fine faces will accept an underpainting in already got a favorite or two, take a
lines, which is why they’ve long been a many media, ranging from watercolor look at some of the exciting new sur-
favorite of portrait and still-life artists . to gouache to oil stains . Some artists faces recently released . If you ever find
Textured surfaces encourage lay- like to lay down a layer of pastel and yourself blocked or uninspired, there’s
ering, and some of them work well for wash it with water, alcohol, mineral nothing like trying out a new product
those artists who like to begin with an spirits, acetone or Turpenoid . Bear in to revitalize your creative energies .
Pastel Painting: 5 Articles on Pastel Basics for Artists | 8
Smoother Surfaces it’s available in several colors . It can Aquarelle Watercolor Paper:
Canson Mi-Teintes Paper: Available take a surprising number of pastel lay- Although this paper has a limited
in a range of 42 colors, this has long been ers . Extremely soft pastels may fill the tooth, it’s somewhat textural . It’s a
a popular choice, especially for figure limited tooth rather quickly, however, mould-made paper (acid-free, chlo-
drawing and portraits . It has a vellum- so you may need to apply fixative to rine-free) and made of 100 percent
like texture on one side and a flat surface continue layering . It’s a tough surface cotton fiber . Some artists give it a light
on the reverse, and artists generally have that can handle erasures, and it comes sanding with a fine-grit sandpaper to
a strong preference for one side or the with natural deckles and tear deckles . rough up the finish . Others apply a mix-
other; the rougher side can take more lay- ture of pumice and gesso (or use the Art
ers of pastel but the pattern of the paper Somerset Velvet Paper: Similar to Spectrum Colourfix Primer, available in a
may show through . It’s a heavy, 98-lb . Rives in feel, the Somerset Velvet is a range of colors, or clear) to give it a some-
sheet, 60 percent cotton . Unless you use mould-made paper (100 percent cotton, what sanded feel . Without any prepara-
fixative on this surface, the number of neutral pH) with a softly textured fin- tion, it will take only a limited number of
layers is quite limited . It’s available in ish . The soft surface is very receptive layers, but is a good choice if you like to
individual sheets that measure 19x25, and to pastel and excellent for blending, begin with watercolor for a mixed-media
considered light-resistant and acid-free . but isn’t at all like a velour paper . Like approach .
the Rives BFK, this surface’s tooth can
Rives BFK Printmaking Paper: This is fill quickly, but an application of fixa- Multimedia Artboard: Available in
a French mould-made paper (100 percent tive will solve that . Somerset Velvet is black or white, for either oil or water-
cotton rag, neutral pH) and is buffered . It available in 22x30 sheets, in four colors . based media, this surface takes a sur-
has a smooth, vellum-like surface, and prising number of pastel layers, and
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.
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Rives BFK Printmaking Paper: A thin Aquarelle Watercolor Paper: Both Multimedia Artboard: This surface Hahnemühle Velour Paper: Note Past
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- Dakota
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; by
completely. Additional layers could still be applied pastel pencil line; a single layer of pas- a single pass of color laid on with a ded
without filling the tooth. tel doesn’t fill the tooth. Even after medium-soft pastel has fuzzy edges provi
additional color is layered on, there’s and a soft look. es
still visible grain. urfac
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Pastel Painting: 5 Articles on Pastel Basics for Artists | 9
special report
the rigid board is easy to handle, espe- work due to the nature of the longer of silica, methyl cellulose, liquid adhe-
cially for plein air work . fibered velour surface . Also available sive, chalk, whiting and water is hand-
as boards, the velour paper is applied brushed onto the paper . Several passes
Hahnemühle Velour Paper: Avail- to an acid-free, 4-ply conservation are made to achieve a smooth, even
able in several colors, this soft, velvety board . It’s well-suited for artists look- surface, much like very fine sandpaper .
surface takes softer pastels well, but in ing for a very soft effect without fine The coating is clear, with coloration
limited layers (usually requiring some lines or hard edges . coming from the BFK sheet colors .
fixative) . Available in a range of colors The Townsend paper is archival and
in 19x27 sheets, it’s acid-free and archi- Textured Surfaces will handle light water-based washes
val . The velour surface is produced by Townsend Pastel Paper: This sur- as well as solvent-based washes .
applying inert synthetic fibers onto a face is produced by applying a coating
backing sheet . Velour holds pastel well to Rives BFK 100 percent cotton, 280- Sennelier La Carte Pastel Card: Often
and is very appropriate for soft edge gram paper . A mixture of two grades referred to simply as “pastel card,” this
surface comes in a range of colors . Its
somewhat toothy surface is made of
Textured Surfaces
a pH-neutral vegetable fiber, affixed
to a firm support and allows numer-
ous layers of pastel . The binder used to
produce the surface is susceptible to
liquid; even a spot of water will cause
the fiber surface to come off, so it’s not
a good choice if you like to begin with
an underpainting . Blending and rub-
bing work well, and fine lines are easy
to achieve . The surface is available in
14 colors, in 19½ x25½ sheets .
Townsend Pastel Paper: More tex- Schmincke Sansfix: Fine lines Wallis Sanded Pastel Paper: Fine
tural than it first appears, this remain crisp without breaking lines and hard edges are fairly
Schmincke Sansfix: With a texture
surface holds a fairly good line up; the surface is well-covered easy to achieve, and the paper
similar to sanded paper, this surface
made with a pastel pencil. A sin- by the soft pastel, but allows for will take many layers of pastel.
comes in a range of colors . It allows
gle layer of color doesn’t fill the additional layering. At right, the red pastel has been
generous layering and can take a sharp
tooth, nor do two subsequent lay- washed with Turpenoid; the yel-
line . Though alcohol washes may
ers. low scribble was applied after
cause the surface to become sticky, it’s
the surface was dry to show the
a water-resistant surface . The archi-
remaining tooth.
val paper is available in six colors, in
19½x25½ sheets .
Art Spectrum Colourfix Sanded
Paper: The prepared sheets come in a
range of colors; the colored texture is
applied to a paper leaving a thin white
edge all around . This surface takes many
layers and will accept wet media under-
paintings . This company also sells a tex-
tured pigment in jars for application to
Sennelier La Carte: The textured Art Spectrum Colourfix: moothly Ampersand Pastelbord: The tex- your own surfaces; it comes in a range of
surface still holds a line, and mul- sanded and textural, the sur- tured surface allows fine lines, colors, as well as clear .
tiple layers of pastel cover well, face holds a line nicely and allows layering and underpainting tech-
but there’s still room to add more numerous layers of pastel. niques. The pastel on the right Wallis Sanded Pastel Paper: Available
before filling the tooth. has been washed with Turpenoid, in white or a neutral gray, this smooth-
dried and a streak of yellow across textured sanded surface has an even grain
it reveals the tooth remaining. and will accept many, many layers of pas-
tel . If your painting doesn’t work out, the
pastel can be washed off and the paper
Sample surfaces provided by Dakota Pastels (www.dakotapastels.com) re-used . It can be underpainted with wet
Pastel Painting: 5 Articles on Pastel Basics for Artists | 10
