Pastels painting Page 1

Pastels Painting
History

First manufactured in the 16th century, pastel quickly found approval with many of the
iconic masters of the day, including the German-born Hans Holbein the Younger
(1497/8-1543), who settled in London in 1532 and received the patronage of Henry VIII.

However, it was from the mid-18th century in Britain that pastel truly came into its own. At
that time, members of affluent society deemed it the very height of fashion to have their
images captured in ‘crayon painting’, as pastel was then called. Leading exponents of the
medium included names such as Daniel Gardner (1750-1805), John Russell, RA
(1745-1806) and Francis Cotes, RA (1726-70), who is regarded as the father of English
pastels. These artists could charge their clientele much the same prices as portrait
painters working in oil.

Fashions came and went and, by around 1820, pastel fell from favour. Sir Richard Colt
Hoare (1758-1838), one of the great antiquarians of his day, considered pastel ‘quite
unfashionable’. Few professional artists used it and it became very much the domain of
the amateur.

In some ways it is ironic that pastel has for so long been used by amateurs, because
technically it is very difficult to master successfully. In the hands of a skilled exponent it is
the most poetic and responsive of media.

The suppression of pastels was relatively short-lived. In the late 1860s Edgar Degas
(1834-1917) started to use it. It is he who is generally recognised as having transformed
the pastel from a sketching tool into a core artistic medium. It was not long before other
greats such as Gauguin, Matisse, Monet, Renoir and Toulouse-Lautrec were using pastel
with huge success.

The Pastel Society

In Britain, pastel’s reincarnation came in 1888, when the first London exhibition devoted to
the medium was mounted. Although the show was dominated by French examples, British
art was represented by artists such as George Clausen (1852-1944) and Bernard Sickert
(1863-1932).

This event, coupled with a similar, much bigger show the following year, certainly inspired
the art world - so much so that, in 1890, the Society of British Pastellists was founded.
However, the Society’s inaugural exhibition was not well received by the art critics − The
Times described some of the exhibits as ‘absolute jokes’. The demise of the Society came
soon after.

That said, pastel remained a favourite medium of many professional artists and, in 1898,
the Pastel Society was born. It flourished, and today, with over 50 members, the esteemed
Society continues to promote the very best. It is undoubtedly a major force in the growing
awareness and appreciation of the medium.

Contemporary Pastels
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Throughout the 20th century leading artistic lights such as Augustus John (1878-1961) and
Roger Hilton (1911-1975) have experimented with pastel. And this journey of discovery
continues today. Some of Britain’s most revered artists use pastel − Paula Rego (b.1936),
Peter Howson (b.1958) and Royal Academicians Diana Armfield (b.1920), Elizabeth
Blackadder (b.1931), Bernard Dunstan (b.1920) and Ivor Abrahams (b. 1935) are but a
small selection.

Types

Pastels are available in several types: hard, soft, oil, PanPastels, and pastel pencils - each
with their own unique characteristics.

Hard Pastels

Pastels are made by mixing dry pigment, some chalk, and a binder together to form a
thick paste. The paste is fashioned into sticks and allowed to dry.

Despite their simplicity, pastels are very versatile, there are five main types of pastels that
are capable of a variety of techniques and effects. Soft and oil pastels have a buttery or
waxy texture that is well suited to painterly effects. When you cover the entire surface of
the support with pastels it's called a pastel painting. You can also get harder pastels that
are suited to drawing, sketching and precise detail work. When parts of the support show
through, it's typically referred to as a pastel drawing.

This versatility means that you can use pastels for all kinds of subjects and genres.
One of applications for pastels is sidewalk chalk drawings.

Quality

You can buy pastels in two main grades: artists' quality and students' quality.

Soft Pastel

Artists' quality pastels contain the best pigments available and a higher ratio of pigment to
binder. This means that artists' colours are stronger and more intense. They also have
high permanence ratings, which means that they won't fade over time.

Students' quality pastels are much cheaper but usually contain cheaper pigments. They'll
also contain more filler and binder, which means the colours won't be as intense, but they
won't crumble as easily as artists' quality pastels.

Because they contain such high levels of pigment, pastels can be expensive. But after the
initial cost of buying a range of colours, it's not too expensive to buy additional pastels
individually when needed.

Colors

Pastel colours can be blended together but they don't mix nearly as well as paint. To
compensate for this, pastel manufacturers offer a huge range of colours.
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Pastels can be purchased in sets or individually. If you're just starting out you first need to
choose which type of pastels you want to buy. If you're not sure, start off by buying your
pastels individually which will keep costs down. Once you know which type you really want
to invest in, you can think about buying a set containing a good starter palette of colours or
you can select your own custom range of colours.

Some artists' colours are more expensive than others because certain pigments are rare
or expensive to mine. Students' quality pastels may contain stand-in pigments which mimic
the colour of costlier natural pigments. If a cheaper pigment is used as a substitute it will
have the word "hue" after the pigment name.

Pastel Pencils

Pastel pencils are perfect if you're looking to create controlled, detailed works of art with
pastel. They're just like conventional pencils, but encased within the wood is a thin stick of
pastel that has a consistency in between hard and soft pastels.

Pastel pencils are versatile enough to be used on their own but many artists also use them
in combination with other pastel types (excluding oil pastels). They can be used dry or wet
and can be blended just like other pastels. You can sharpen them to a point to create
precise details or use them bluntly for soft, hazy lines. Many artists also use them for
preliminary sketches, which is especially handy given that graphite pencils aren't
compatible with pastels.

Oil Pastels
Oil pastels are basically cylindrical sticks of pigment, but they're bound with wax and oil,
not gum. This seemingly insignificant difference gives them a distinctive consistency and
various properties lacking in other pastel types.

The first difference is that oil pastels won't crumble, smudge, or release airborne dust like
soft pastels do. Yet they still contain just as much, if not more, pigment and produce bright,
intense colours.

They're also more stable than soft pastels and don't require a fixative. This makes them
great for using on location, but they never completely dry, so safe transport can be a
hassle.

Pan Pastels

PanPastels are a form of soft pastels, but instead of being moulded into sticks, they are
set into pans or jars. This format allows for much less binder and probably the highest
pigment concentration of any pastel product. The packaging protects the pigment, reduces
waste, and allows for easy storage and transport.

PanPastels are a relatively new format for pastels, but have gained a huge following. They
appeal to artists because they can be lifted (with brushes, sponges and other tools) and
applied to the support like paint. You can buy a whole range of specialised PanPastel
applicators called "Soft Tools" that allow for varying degrees of detail and different painterly
effects.

PanPastels are also popular because they're super easy to blend, they can be fully
erased, and are compatible with other art mediums and surfaces. They're also cleaner to
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use and create much less dust than soft pastels. You can purchase them individually or
select from of wide range of sets (see below).

Safety

When using soft pastels you need to be mindful that they often deposit fine dust into the air
which you can easily inhale into your lungs. There are now non-toxic pastels available, but
it's wise to take steps to avoid breathing in pastel dust.
purchased an air purifier which makes pastel painting safer.

surface for Pastels

Pastels are undoubtedly unique. Applied dry, the active process is clearly associated with
drawing. The thought process, and finished result however, is closely related to painting.
As a result, pastels offer the artist a special blend of the two most common approaches to
art creation.

The surface on which you choose to work is the foundation of the piece. Although often
overlooked, the surface or paper that you work on greatly affects the success of the work.

Like other drawing papers, pastel papers are available in a variety of colours and surface
textures. Working on a toned surface allows the artist to start closer to the middle of the
value scale and push values darker or lighter. This gives the artist immediate and more
accurate feedback on the contrast of the colour applied.

The tonality of the paper is often allowed to "show through" layers of pastel applications
affecting the overall temperature of the image and the contrast of the colours applied.

Toned pastel papers

The texture of the paper (or tooth) also plays a vital role in the finished appearance of the
work. Smooth surfaces with allow for greater control of gradations of value and colour, but
are limited in how many layers can be applied to the surface.

Smooth Pastel Papers

Medium textures allow for a greater number of layered applications, but some may find it
difficult to develop details early in the painting process. But once a few layers of pastel are
in place, details can easily be developed.

Medium Pastel Papers

Coarse textures will accept multiple applications of pastel. However, details and smooth
gradations of value are difficult to achieve without multiple layered applications of pastel.
Even with heavy layering, the tooth of the paper will affect the finished look and in most
cases, the texture will still be visible when complete.

Coarse Pastel Papers

Often times, the subject and colours within the scene will influence the paper chosen.
There are no rules as to which colours or textures are "best". However, if you desire
contrast, choose a paper colour that is opposite in colour temperature from your subject. If
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harmony is what you are after, then choose a paper colour that matches the colour
temperature of your subject.

Pastel Techniques

Each of these pastel techniques can be used on their own or combined, to produce a
pastel painting. There is no right or wrong way. As with so many things in painting, it
comes down to what you enjoy doing with your pastels.

Remember to try each pastel technique with different pastels — hard, semi-soft, and soft
— as each gives a slightly different result, as will the various pastel brands.

Drawing with the End of a Pastel

The simplest way to use a pastel is to draw with the end, holding it as you would a pencil
or pen. The resultant line has great expression, conveying a sense of the gesture you
made.

Alter the thickness of the line by varying the pressure you’re applying to the pastel. The
harder you press, the more pastel you’ll be putting down on the sheet. For thinner lines,
press more gently or use the edge.
Use your whole arm, not just your wrist, as this encourages broader, looser drawing.

Using the Edge of a Pastel

If you want to work quickly, creating large blocks of colour, use the side of a pastel stick.
For optimal results break (yes, I said break) a stick in half and use that — remember, even
the smallest fragment of pastel is still usable.

Altering the pressure will create different degrees of texture on the pastel paper. When the
side of the pastel has worn down, giving two sharp edges, it can also be used to create
fine lines.
This is best done with semi-soft or soft pastels.

Hatching and Cross-Hatching

If you've done any drawing then this technique will be familiar — in fact it is best suited to
pastel pencils or hard pastel sticks. Hatching is simply a set of parallel lines, preferably fine
lines (hence the pencil) drawn closely together. Cross-hatching is just the next step,
drawing a second set of lines at an angle (most often at right angles to the first set).

This method is especially useful in pastel painting for the initial blocking in of a painting —
it allows you to experiment with colour and tone in a loose, flexible way without fully
committing to a final composition.
You can use this method to create a sense of form and shape by varying the direction of
the cross-hatching.

Blending Pastels

Unlike other mediums, pastels are not mixed before putting them on the paper. There are
two ways to create colour and tonal variations — optical blending, which is achieved by
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having colours in close proximity (see hatching), and blending, where the pastel is mixed
on the paper.

You have a wide choice of tools to use for blending, although the traditional one is the
finger (you must decide whether you want to wear a surgical glove to protect your hands or
not). Also available are: the side of the hand — useful for large areas of blending, but not
good for precise results; paper tools such as the tortilla(tool to give heat), torchon(duster
cloth), and paper stump; putty (or kneaded) rubbers, cloths, and cotton wool (balls or
buds).

If using your finger (or hand) remember to clean it regularly to avoid contamination of the
painting with colours previously blended. I keep a box of wet-wipes handy at all times,
even when painting plain air.

Paper stumps and tortillons can be cleaned up for further use by unwinding a layer at the
end or by removing the end surface with a pencil sharpener.

Scumbling Pastels

One of the great advantages of pastels over other mediums is the vibrancy you can
achieve with colour. Possibly the best method for getting this is by scumblling — after a
layer of pastel has been applied, and fixed, lightly drag a soft pastel on its side across the
top. This creates a broken covering of the new colour over the top.

The result is visually stimulating and very textural, and careful choice of colours will
produce amazing results.
This method works best with the softest soft pastels.

Feathering with Pastels

Feathering is a fine-tuned form of hatching using short strokes. The result is rather like
scumbling — it can give a vibrancy to a painting. Feathering will also work for optical
mixing of colour (like with pointillist paintings) where the eye mixes the colours together
rather than blending them on the paper.
This method is especially good for giving the appearance of iridescence of fabric, feathers,
and scales, or for creating atmospheric effects with light.

Dusting with Pastels

Rather than scumbling a pastel over the top of an existing block of colour, try dusting. Hold
a pastel over the block of cooler (it is easier if this has been fixed, but not essential) and
scrape the stick's surface to create dust. Once you are happy with the arrangement of dust
on the paper, use a flat palette knife to press the dust into the surface.

It is much easier to do this with the painting held horizontally - the pastel dust will fall
exactly where you want it to, and not contaminate the rest of the picture.
Make sure the palette knife is really clean before trying this, and then even if you move the
knife around a little bit it won't blend the colours together.
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Layer Colors

Since pastels are so closely related to painting mediums, they can be approached with the
same mind-set. Like with opaque painting mediums, colours can be layered over previous
applications, either by covering them completely, or by allowing bits of colour to show
through.

Layering often leads to complexity in the colour, which makes colours appear more natural
and convincing. Naturally as colours are layered, they mix together - either optically or
through blending. When colours are mixed, they add variety and interest to the work.

Don't expect one layer of colour to do the trick. Layer multiple applications of colour for a
more finished and natural look.

Mix Colours

As we just covered, layering colours naturally leads to mixing and mixing colours is
important for any coloured media. With pastels, the mixing takes place on the surface
instead of on a palette. Colours can be mixed by layering colours on top of each other,
blending them with a finger or blending stump. Mixing also occurs when unblended strokes
are applied over previous applications, resulting in optical colour mixing.

Instead of reaching for that manufactured "green", try mixing it first with yellows and blues.
You can always deepen the colour with the manufactured "green", if your mixed "green"
isn't quite right.

"Build Up" to Develop the Detail

For many drawing mediums, the details should be planned and addressed right from the
start of the process. With pastels however, we do not need to develop the details early on.
Instead, details can be addressed in the later stages of the work. While planning details
with a light sketch is a good idea, we don't have to develop them fully.

The time during the early stages is best spent on developing the tones and colours of the
subject. Large shapes of colour can be applied and refined as the image develops. With
underlying values and colours in place, the details are easily added right over the top.

Don't allow the detail in a subject to overwhelm you. With pastels, the details are better left
to the latter stages of the process.

Combine Blended and Unblended Applications

Pastels are capable of producing a wide variety of marks and this attribute should be
exploited. The ability to blend the material to create smooth applications is wonderful, but
there should be a balance.

Many beginning artists become so enamoured with the process of blending that they blend
absolutely everything in a pastel painting. This often leads to a work with poorly defined
edges that also lacks variety.
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A better approach is to combine blended and unblended applications in the work.
Unblended applications can produce strong bursts of colour or contrast and make objects
appear closer to the viewer.

Stay Loose & Work Quickly

Pastels can be applied quickly to develop large areas of colour in a short period of time.
This allows the artist to develop fields of colour quickly and loosely in the beginning stages
of a work. Details and refinements can occur as the image develops, but staying "loose
and quick" can help the artist see "results" in the earlier stages.

"Loosening up" may require allowing your marks to originate from your shoulder or elbow,
instead of the wrist. Try making broad movements, using your whole arm to apply colours.
Get as much colour on the surface as quickly as possible, remembering that details can be
refined later.

Be Patient

This tip may seem contradictory to the last, but it's not. Loosening up and working quickly
applies to earlier stages, while patience is required to layer colours, build up complexity in
the colour, and develop details.

Some drawing and painting mediums require only a few marks or brush strokes to be
considered "finished", but with pastels, we must allow all of those layered applications to
do what we intend them to do. This means that we cannot expect to arrive at a well-
developed painting with just a few marks and applications of colour. It's only through the
patient process of applying and developing layers that we can expect to create a worthy
and "polished" pastel work.

Use Pastel Pencils For Details

Pastels are typically produced as bulky sticks of colour. While details can be developed
and refined to a high level with pastel sticks, some may find it difficult to do so. If this
applies to you, then you may find that pastel pencils are a suitable solution.

Pastel pencils, as the name implies, consist of the pastel medium encased within a
wooden pencil. This allows the artist to sharpen the tip, either by using a sharp blade or a
pencil sharpener. It goes without saying that a sharper tip gives the artist the ability to
achieve a higher level of detail within the drawing.

Since the material is the same, pastel pencils can be blended, mixed, and used in
conjunction with traditional stick pastels.

Use "Black" Sparingly

Black is a strong, intense colour and when over-used, it can make an image appear flat
and unnatural. Whenever possible, it's best to mix your own black with browns and blues.
When black is unavoidable, it's best to use it in small doses. To lessen the strength of
black, you may choose to layer colours over the top, producing a dark version of that
colour. The result may still appear "black", but including a bit of colour in the mix will
prevent it from looking "flat".
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Fixative is Optional

Fixative can be applied to a finished pastel work to "hold" the chalky dust in place and
protect the work, but it's important to note that this final step is purely optional. While
fixative is great for preventing unwanted smudging, it can alter the tones of the colours. In
most cases, a coat of fixative will make the values a bit darker.

If keeping the tonality of the work intact is important to you, then you can avoid applying
any fixative. You can still protect the work with a cover sheet and store it away until you're
ready to frame it. Once framed, your work will be protected but the values will be true to
how you applied them.

Framing and Storage

Every medium has its challenges and for pastel framing can be troublesome and
expensive.

Fortunately the explosion of interest in pastel has lead to great new methods of framing
and more galleries and frame shops that have experience in framing pastels.

In lieu(place) of framing, pastels can be stored easily by stacking them carefully. Care
must be taken to tape them in a way that there is no side to side movement of the pastels
which will cause smearing. Having a strong surface is helpful in solving storing pastels
successfully.

Of course, the best and only way to ensure total safety of a pastel painting is to frame it
behind glass, preferably with a spacer or a mat to separate the glass from the artwork.
Framed correctly a pastel will last a lifetime and more.