Pastels

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Pastels
A Pastel work of art is created by laying strokes
of the dry pigment across an abrasive ground,
thus embedding the color in the "tooth" of the
paper, sandboard or canvas. When the ground is
completely covered with Pastel, the work is
considered a Pastel painting leaving much of the
ground exposed creates what is considered a
Pastel sketch.
http//fioravantifineart.blogspot.com/
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Pastels are known for their brilliant color.
Pastels are the purest from of color an artist
can create with as they are made with pure
pigment mixed with only a small about of gum
solution.
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Because of their purity, there is no oil to cause
darkening or cracking, nor other substance or
medium to cause fading or blistering. Pastels
paintings from the 16th Century exist today, as
fresh and alive as the day they were painted!
http//ctpastelsociety.com/home.html
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The term Pastel come from its Italian name
pastello, a derivation of the word pasta, meaning
paste.
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History
Pastels can be traced back to the 16th century.
Its invention is attributed to the German painter
Johaim Thiele. Though it was a Venetian woman
artist, Rosalba Carriera who was the first to
consistently use Pastels.
Self-portrait Pastel on paper 1715
http//ctpastelsociety.com/home.html
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Artists to note
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Chardin, Self Portrait, pastel, 1771
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Renoir, Portrait of a young Girl, pastel, 1887
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Degas, La Danseuse sur la Scene, pastel, 1878
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Mary Cassatt, Mother and Child, pastel, 1900
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Forms
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Soft Pastels
The purist of the pastel family. Comes in a wide
range of quality.
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Hard Pastels
Used in early stages of a work when a certain
degree of drawing is needed. It would then be
overlaid with soft pastels.
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Pastel Crayons
Medium-hard pastels that combine the qualities of
soft pastels and the control of hard pastels.
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Pastel Pencils
Are a harder version of the stick. The hardness
combined with the ability to sharpen the material
make them ideal for detailed work.
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Tools
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Blending stick
Make your own!
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Color shapers
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Chamois
Found in the automotive isle! One goes a long
way. You can cut it up and use with charcoal,
pastels and throwing.
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Q-Tips, Tissue and Cotton Balls
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Easel
Easels can be very expensive. You can get the
same effect by propping up a board on a table
top. Using a easel with pastels is essential as
it allows the excess chalk dust fall.
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Erasers
Just like with charcoal the eraser can also be
used as a mark making tool.
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Fixative To use or not to use, that is the
question!
Professional Pastellists are very passionate
about NOT using fixatives on their work. Make a
decision that best suits you.

• Cons
• Darken the color
• Pollutes the purest of pigment
• Health reason (hairspray)
• Must be framed

• Pros
• Build up layers
• Protects from smearing
• Do not have to frame

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Supports
Sanded paper Watercolor paper Roofing
paper Colored paper Newsprint Vellum Art
boards Canvas Asphalt
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Storage
When purchasing pastels separately buy or build a
box for storing.
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Cleaning
To clean your Pastels place them in a container
with uncooked rice and gently shake.
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Great idea!
This is a very cost effective and very functional
option!
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Techniques
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Scrumbling
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Edge
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Hatching
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Feathering
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Dusting
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Other materials to experiment with
Water Colored pencils Water colors Acrylic
medium Charcoal
The sky is the limit!
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Step by step
By Jerry Hunsinger
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I usually begin a painting by a loose drawing
with a black pastel or medium soft charcoal, not
a vine charcoal because it doesn't mix with the
pastel. Here I am using a sand-colored sheet of
La Carte pastel card. The paper is attached to a
clipboard and placed on my easel tilted forward a
few degrees. Using mostly hatching strokes I have
already begun covering the paper with a rough
value drawing. The entire sheet of paper will be
covered before I apply the first color.
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In this step I have begun layering pastels from
dark to light using hard pastels then progressing
to softer as the values get lighter. I use a very
light touch so that I don't fill the tooth of the
paper before I'm ready. I don't have a particular
order that I develop the painting at this point
but rather develop different areas randomly. The
darkest values are layered with my darkest red,
green and then blue because I seldom (but
sometimes) leave pure black in my paintings.
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At this point I am beginning to add more color continuing to darken the lowest values and lightening the lightest. In most of my paintings I use a cool light and a warm shadow. Usually I use the harder, darker pastels to layer colors in the beginning. Sometimes I will use a soft pastel to lay in a color, then use a hard pastel to smooth out the texture or to push it into the tooth of the paper. I always use a pastel to blend colors, never my fingers.
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The completed painting is mostly mid-tone to dark
in value. I want the small areas of light to be
very prominent. I liked this particular
composition because the girls are positioned
diagonally to the left, and the violins are
positioned diagonally to the right. I made the
background blurred to give the illusion of depth.
Placing the small branch and leaf in front of the
taller girl achieved the same effect. I like
light and dark contrast, pattern, and texture in
my paintings and this particular setting included
a combination of all those qualities.
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Your challenge is to experiment with the
different tools, papers and techniques in your
IWB.
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Street Artist Julian Beever
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