lucky
07-19-2005, 03:54 PM
Pastel; Getting Started
Pastels: Hard, Soft, and pastel pencils.
Hard: Most use harder pastels to block in color, to establish the drawing, used mostly for first stages. But they also hold their shape better and sharpening is easy with these, so getting points for details also works well. Their strength comes from having more of a binder, so they have less pigment than the softs.
Soft: Rich and vibrant color because of less binder, great ease of coverage and easy to use.
Very Soft: Usually used for last stages, such as details. These have much more pigment, so can produce very saturated colors. But are much more fragile, because they lack very much binder. They can crumble easily under too much pressure.
Just a few examples of types:
HARD
Prismacolor Nupastels
Faber-Castell Polychromos
Derwent Pastel Blocks
Van Gogh Hard Pastels
SOFT
Unisons
Giraults
Rembrandt
Great American
Art Spectrum
Mount Vision
VERY SOFT
Unisons
Sennelier
Daler Rowney Artists’ Soft Pastels
Great American
Art Spectrum
Pencils: Can be used for anything but mostly preferred to use for finer details.
For brands and information on their particular qualities please visit these sites:
www.dakotapastels.com/index_softpastels.shtml
www.dickblick.com/categories/pastels/#softpastels
Pastel Paper: For pastel it’s necessary to use paper with a large enough tooth (texture) so the pastel will not fill up the paper too quickly. It is also suggested to place several sheets of newsprint, or other papers behind the one your currently working on to give a cushion.
Here are just a few types, and small descriptions gathered from a variety of resources. Keep in mind, these are just some thoughts, of course your own experimenting with different surfaces will be the best judge.
Wallis – should be able to apply up to or at least 25 layers of pastels. Extremely durable. Many artists love this surface.
Canson Mi-Tietes – Comes in a large variety of wonderful colors, has a big tooth on one side and smoother on the other. For beginners I would probably suggest to try the smoother side first.
Sennelier La Carte – Has a deep tooth, allows many layers and lots of play. Many pastel artists adore this paper.
Velour – Holds a lot of pastel, many enjoy the soft (some what fuzzy) surface. But find it difficult to correct by erasing. Gives your work a very soft look.
Tiziano Fabriano – Thick, can hold quite a few layers, not such a deep tooth.
Ingres – nice subtle color variety, thinner paper so may not be able to take too much abuse, has a more delicate surface.
Somerset Velvet – not a velvet, Very soft (non fuzzy) surface. Pastel glides on and sinks in.
Suede – can be expensive, pastels feel like butter on this soft surface. Soaks up pastel so well that you may not have much trouble with pastel dust. (this is the closest to what I am currently using right now and I really love it)
Art Spectrum Boards – similar to sanded papers, on the smoother side, and hold on to pastel very well.
Sanded Papers – They come in a variety of different degrees off roughness. They are a tough paper that can take a great amount of abuse and many layers. Some swear by them, while others don’t like how fast they eat away at their pastels.
www.dakotapastels.com/index_paper.shtml
(tells more about papers and offers a sample pack for $25 + S&H)
Tools: These are again just a few examples of possible tools you can use. (Experiment with as many or as little as you wish)
Your Fingers
Tortillions
Q-Tips
Stumps
Packing Peanuts
Paper Towels
Color Shapers
Exacto knife
Sponge
Cotton Balls
Tissues
White Erasers
Make Up Applicators
Kneaded Erasers
Brushes
(Hard bristle brushes can be used to remove pastel, like an eraser. Soft brushes, Fan brushes, any kind you wish to use can be used to create a variety of different textures)
Even bread can be used to erase pastel.
Easel/ Drawing Board
And one of the most important tools is an easel or a drawing board that can be set upright so the pastel dust falls off the page. Or a drafting table that can be set at a steep angle.
A drop cloth, damp paper towel, damp cloth, or a mail tube cut down the middle with a slit large enough to catch the dust, can be attached to the ledge of your easel or at the bottom of your drawing board to catch the pastel dust.
O.k. Now we can get Started! Here’s a quick drawing that demonstrates a variety of techniques.
http://i8.photobucket.com/albums/a1/scribbletalk/DemodrawingNUMBERED.jpg
The Project: You may use the same reference to experiment with these techniques or a reference of your own, or set up a still life. Maybe you just want to attack the paper and use these different techniques in a random fashion just to get comfortable with the pastels. That’s o.k. too. Just share your work with us. And any interesting discoveries. Lets all feel free to ask questions, and learn together!
http://i8.photobucket.com/albums/a1/scribbletalk/PhotoReferenceSIZED.jpg
Techniques:
As with every medium there are numerous techniques, those that are widely known and those that have not yet been discovered. So play around, discover how you like to apply the pastel and what techniques elicit the look your after. Here are just a few pastel techniques you might want to give a try.
http://i8.photobucket.com/albums/a1/scribbletalk/1BrokenColorcopy.jpg
1) Broken Color: Is created by using short strokes placed side by side of various colors. For example your painting a sky and you don’t just want plain ol’ blue, so you use purples, all kinds of blues, grays, white, etc. This is also a very useful technique when doing grasses. But of course it can also be used to render anything!
http://i8.photobucket.com/albums/a1/scribbletalk/BROKENCOLOR.jpg
You can also apply colors in sections, like this to create broken color.
http://i8.photobucket.com/albums/a1/scribbletalk/2GLAZE.jpg
2) Glaze: Here you layer color on top of others in a much more gentle manor. You can use the side of the stick and gently sweep it over the other layers. Glazing is using thin layers to create subtle changes.
Here’s another example of glazing. The leaves were just too vibrant. So I decided to use a rosey color to lightly glaze over the green. I want to keep them warm, but want to dull them down. Red is the compliment of green, but this green has more yellow in it, purple is the compliment of yellow, so I compromised and chose a rosey purple.
http://i8.photobucket.com/albums/a1/scribbletalk/2GlazeLEAVESbefore.jpg http://i8.photobucket.com/albums/a1/scribbletalk/2duringGLAZEleaves.jpg http://i8.photobucket.com/albums/a1/scribbletalk/2AfterglazeLEAVES.jpg
http://i8.photobucket.com/albums/a1/scribbletalk/3Blending.jpg
3) Blending: lay two colors next to each other, you can use the side of the pastel for this. Blend the two together using your fingers, q-tips, brushes, anything you’d like, to see what different affects they give. (For this picture I only used my fingers)
http://i8.photobucket.com/albums/a1/scribbletalk/4LAYERING.jpg
4) Sweeping one color over another is called layering. You can experiment with different pressures, colors, and values. For example, sweeping a light color over a dark, or a warm over a cool.
http://i8.photobucket.com/albums/a1/scribbletalk/5SCUMBLE.jpg
5) Scumble: Is to overlap a color over another or several others, usually in a scribble type fashion. Here you push the color over the top of others loosely. You should still be able to see some initial colors underneath.
http://i8.photobucket.com/albums/a1/scribbletalk/6STIPPLING.jpg
6) Stippling: Also called Dotting, is simply placing the pastel down in the form of dots, side by side.
Other Tecniques:
7) Dry Wash Tint (This may be similar to Gakas technique) where you apply pastel powder directly to the paper, can be applied with fingers, tissues, q-tips, eye shadow applicators, etc.
8) Cross Hatching: The same as with pencil or any other medium. Laying down lines of color in different directions on top of one another.
(Note: I discovered it was much easier to use these methods after already establishing a couple layers of color. This might just be my own opinion though. So feel free to do what’s comfortable for you.)
Storing your pastel paintings: I have read that placing glassine, or glossy printing paper (you can get large sheets from printers) on top of the work and securing it with artists tape is the best way to preserve it with the least amount of damage. You can just slip the sheets in between your work and stack them up to store.
Precautions: If you are worried about the dangers of inhaling the pastel dust, or of toxic pigments touching the skin, by all means use a dust mask and surgical gloves to protect yourself.
One Final Thought! If any info here seems incomplete or I can not answer questions properly, I want to make sure you all know I have only 6 months experience with pastels. So by all means, any of those out there more experienced please feel free to chime in any time about anything!!! Thank you!!!
Pastels: Hard, Soft, and pastel pencils.
Hard: Most use harder pastels to block in color, to establish the drawing, used mostly for first stages. But they also hold their shape better and sharpening is easy with these, so getting points for details also works well. Their strength comes from having more of a binder, so they have less pigment than the softs.
Soft: Rich and vibrant color because of less binder, great ease of coverage and easy to use.
Very Soft: Usually used for last stages, such as details. These have much more pigment, so can produce very saturated colors. But are much more fragile, because they lack very much binder. They can crumble easily under too much pressure.
Just a few examples of types:
HARD
Prismacolor Nupastels
Faber-Castell Polychromos
Derwent Pastel Blocks
Van Gogh Hard Pastels
SOFT
Unisons
Giraults
Rembrandt
Great American
Art Spectrum
Mount Vision
VERY SOFT
Unisons
Sennelier
Daler Rowney Artists’ Soft Pastels
Great American
Art Spectrum
Pencils: Can be used for anything but mostly preferred to use for finer details.
For brands and information on their particular qualities please visit these sites:
www.dakotapastels.com/index_softpastels.shtml
www.dickblick.com/categories/pastels/#softpastels
Pastel Paper: For pastel it’s necessary to use paper with a large enough tooth (texture) so the pastel will not fill up the paper too quickly. It is also suggested to place several sheets of newsprint, or other papers behind the one your currently working on to give a cushion.
Here are just a few types, and small descriptions gathered from a variety of resources. Keep in mind, these are just some thoughts, of course your own experimenting with different surfaces will be the best judge.
Wallis – should be able to apply up to or at least 25 layers of pastels. Extremely durable. Many artists love this surface.
Canson Mi-Tietes – Comes in a large variety of wonderful colors, has a big tooth on one side and smoother on the other. For beginners I would probably suggest to try the smoother side first.
Sennelier La Carte – Has a deep tooth, allows many layers and lots of play. Many pastel artists adore this paper.
Velour – Holds a lot of pastel, many enjoy the soft (some what fuzzy) surface. But find it difficult to correct by erasing. Gives your work a very soft look.
Tiziano Fabriano – Thick, can hold quite a few layers, not such a deep tooth.
Ingres – nice subtle color variety, thinner paper so may not be able to take too much abuse, has a more delicate surface.
Somerset Velvet – not a velvet, Very soft (non fuzzy) surface. Pastel glides on and sinks in.
Suede – can be expensive, pastels feel like butter on this soft surface. Soaks up pastel so well that you may not have much trouble with pastel dust. (this is the closest to what I am currently using right now and I really love it)
Art Spectrum Boards – similar to sanded papers, on the smoother side, and hold on to pastel very well.
Sanded Papers – They come in a variety of different degrees off roughness. They are a tough paper that can take a great amount of abuse and many layers. Some swear by them, while others don’t like how fast they eat away at their pastels.
www.dakotapastels.com/index_paper.shtml
(tells more about papers and offers a sample pack for $25 + S&H)
Tools: These are again just a few examples of possible tools you can use. (Experiment with as many or as little as you wish)
Your Fingers
Tortillions
Q-Tips
Stumps
Packing Peanuts
Paper Towels
Color Shapers
Exacto knife
Sponge
Cotton Balls
Tissues
White Erasers
Make Up Applicators
Kneaded Erasers
Brushes
(Hard bristle brushes can be used to remove pastel, like an eraser. Soft brushes, Fan brushes, any kind you wish to use can be used to create a variety of different textures)
Even bread can be used to erase pastel.
Easel/ Drawing Board
And one of the most important tools is an easel or a drawing board that can be set upright so the pastel dust falls off the page. Or a drafting table that can be set at a steep angle.
A drop cloth, damp paper towel, damp cloth, or a mail tube cut down the middle with a slit large enough to catch the dust, can be attached to the ledge of your easel or at the bottom of your drawing board to catch the pastel dust.
O.k. Now we can get Started! Here’s a quick drawing that demonstrates a variety of techniques.
http://i8.photobucket.com/albums/a1/scribbletalk/DemodrawingNUMBERED.jpg
The Project: You may use the same reference to experiment with these techniques or a reference of your own, or set up a still life. Maybe you just want to attack the paper and use these different techniques in a random fashion just to get comfortable with the pastels. That’s o.k. too. Just share your work with us. And any interesting discoveries. Lets all feel free to ask questions, and learn together!
http://i8.photobucket.com/albums/a1/scribbletalk/PhotoReferenceSIZED.jpg
Techniques:
As with every medium there are numerous techniques, those that are widely known and those that have not yet been discovered. So play around, discover how you like to apply the pastel and what techniques elicit the look your after. Here are just a few pastel techniques you might want to give a try.
http://i8.photobucket.com/albums/a1/scribbletalk/1BrokenColorcopy.jpg
1) Broken Color: Is created by using short strokes placed side by side of various colors. For example your painting a sky and you don’t just want plain ol’ blue, so you use purples, all kinds of blues, grays, white, etc. This is also a very useful technique when doing grasses. But of course it can also be used to render anything!
http://i8.photobucket.com/albums/a1/scribbletalk/BROKENCOLOR.jpg
You can also apply colors in sections, like this to create broken color.
http://i8.photobucket.com/albums/a1/scribbletalk/2GLAZE.jpg
2) Glaze: Here you layer color on top of others in a much more gentle manor. You can use the side of the stick and gently sweep it over the other layers. Glazing is using thin layers to create subtle changes.
Here’s another example of glazing. The leaves were just too vibrant. So I decided to use a rosey color to lightly glaze over the green. I want to keep them warm, but want to dull them down. Red is the compliment of green, but this green has more yellow in it, purple is the compliment of yellow, so I compromised and chose a rosey purple.
http://i8.photobucket.com/albums/a1/scribbletalk/2GlazeLEAVESbefore.jpg http://i8.photobucket.com/albums/a1/scribbletalk/2duringGLAZEleaves.jpg http://i8.photobucket.com/albums/a1/scribbletalk/2AfterglazeLEAVES.jpg
http://i8.photobucket.com/albums/a1/scribbletalk/3Blending.jpg
3) Blending: lay two colors next to each other, you can use the side of the pastel for this. Blend the two together using your fingers, q-tips, brushes, anything you’d like, to see what different affects they give. (For this picture I only used my fingers)
http://i8.photobucket.com/albums/a1/scribbletalk/4LAYERING.jpg
4) Sweeping one color over another is called layering. You can experiment with different pressures, colors, and values. For example, sweeping a light color over a dark, or a warm over a cool.
http://i8.photobucket.com/albums/a1/scribbletalk/5SCUMBLE.jpg
5) Scumble: Is to overlap a color over another or several others, usually in a scribble type fashion. Here you push the color over the top of others loosely. You should still be able to see some initial colors underneath.
http://i8.photobucket.com/albums/a1/scribbletalk/6STIPPLING.jpg
6) Stippling: Also called Dotting, is simply placing the pastel down in the form of dots, side by side.
Other Tecniques:
7) Dry Wash Tint (This may be similar to Gakas technique) where you apply pastel powder directly to the paper, can be applied with fingers, tissues, q-tips, eye shadow applicators, etc.
8) Cross Hatching: The same as with pencil or any other medium. Laying down lines of color in different directions on top of one another.
(Note: I discovered it was much easier to use these methods after already establishing a couple layers of color. This might just be my own opinion though. So feel free to do what’s comfortable for you.)
Storing your pastel paintings: I have read that placing glassine, or glossy printing paper (you can get large sheets from printers) on top of the work and securing it with artists tape is the best way to preserve it with the least amount of damage. You can just slip the sheets in between your work and stack them up to store.
Precautions: If you are worried about the dangers of inhaling the pastel dust, or of toxic pigments touching the skin, by all means use a dust mask and surgical gloves to protect yourself.
One Final Thought! If any info here seems incomplete or I can not answer questions properly, I want to make sure you all know I have only 6 months experience with pastels. So by all means, any of those out there more experienced please feel free to chime in any time about anything!!! Thank you!!!