Ask the Experts : pastel

Extreme studio temperatures

Karyn — Tue, 24 Feb 2009 18:22:00 GMT

Q: I currently keep all of my finished oil and pastel paintings in my Manhattan studio. In the winter, the studio gets very hot because I can't control the heat. Can the extreme temperature hurt my paintings?

A: Extreme changes in temperature are harmful to all works of art. A quick, or even a relatively slow change in temperature can cause stress on a painting, such as cracks in a paint layer or on the surface. I would recommend constructing an interior closet in the studio that is as far away as possible from the heat source. You can install a simple thermometer to monitor the temperature, and store artworks there when you are away from the studio. Another recommendation is to install ceiling fans to circulate the air and moderate the extreme heat.

Turpentine on pastel paper

Karyn — Tue, 24 Feb 2009 17:27:00 GMT

Q: Can I use turpentine on pastel paper?

A: The turpentine may not hasten the deterioration of the pastel paper but it will likely leave a dark stain, as it is a resinous material. Mineral spirits are less likely to leave a stain, and many pastelists use isopropyl alcohol (rubbing alcohol) to get a washy effect on their pastel paintings.

Getting "melted" appearance with pastels

Karyn — Tue, 24 Feb 2009 17:25:00 GMT

Q: I want to use chalk pastels on unprimed canvas and have the colors achieve a melted look. How might I do this?

A: Pastels are water soluble, so you can achieve this effect by mixing dust from the pastel sticks with water. However, when the paint dries the canvas will pucker. A better choice would be to use acrylic matte medium, thinning the medium with water if necessary. Please remember that any pigments will likely darken and perhaps lose some brilliance when mixed with water.

Art materials for beginners

Karyn — Tue, 24 Feb 2009 16:20:00 GMT

Q: I am just starting to learn how to draw and paint, and I have a limited budget to spend on art materials. Which pastel set would you recommend?

A: Sennlier produces top-of-the-line pastels, and many artists save them for the top layer of their artwork. You may want to start off with hard pastels and pastel pencils because they are less expensive. The Cretacolor brand offers rich, vibrant colors. I would also suggest using toned paper because pastels will look more interesting on a middle-value pastel paper.

--by Camille LaPointe-Lyons

Signing Artwork

Karyn — Tue, 24 Feb 2009 15:41:00 GMT

Q: Where and in what manner do you suggest signing a pastel work?

A: Signing an artwork, regardless of medium, in subjective. Most artists sign their artwork in the lower right-hand or left-hand corner. If you are going to mat your pastel, you should take into account the space that will be covered by the mat-—approximately 1/4" on all sides.

If your artwork has a lot of built-up pastel, you may want to use a very soft, opaque pastel, such as the Sennelier half stick or full stick, to sign your work. Any color will work well because Sennelier pastels have remarkable pigment strength, but you may want to choose a color that allows your signature to blend quietly with the colors in your piece. Some artists, however, prefer to use a strong contrasting color to enhance their signature. For a tight line in your signature, try a Cretacolor pastel pencil. Be sure to hand-sharpen the Cretacolor pastels before you use them because they are particularly hard.

--by Camille LaPointe-Lyons

Oil Pastel Resources

Karyn — Tue, 24 Feb 2009 15:05:00 GMT

Q: I use oil pastels and would like to know about any books or other educational sources that deal specifically with this medium. Most resources deal with dry pastels instead of oil pastels.

A: There are many books on oil pastels that are very good. I recommend The Pastel Book: Materials and Techniques for Today’s Artist , by Bill Creevy (Watson-Guptill Publications, New York, New York). The oil pastel section offers many helpful suggestions about techniques to try. The other two books specifically cover oil pastels: Oil Pastel for the Serious Beginner: Basic Lessons in Becoming a Good Painter, by John Elliot (Watson-Guptill Publications, New York, New York) and Oil Pastel Materials and Techniques for Today’s Artist, by Kenneth Leslie (Watson-Guptill Publications, New York, New York). All three books will help you produce a professional body of work.

--by Camille LaPointe-Lyons

Soft Pastels

Karyn — Tue, 24 Feb 2009 14:22:00 GMT

Q: Is there any way I can add something to soft pastels and/or the surface I'm working on to make the soft pastels fix better? Does turpentine make them fix?

A: Turpentine is used to start a pastel painting because by blending the turpentine with the soft pastels you can fill in shapes more easily. It is not used as a fixative, however, because it can change the chemistry of the pastels from a soft texture to a diluted flat, matte surface. A spray fixative for soft pastels is best, but make sure to read the labels before purchasing. Some will dry leaving a hard, shiny surface, or even a cloud. Latour has been proven to be the best on the market. It is the most transparent, least-yellowing matte film available.

--by Camille LaPointe-Lyons

Turpentine disposal & Paper to a backing board

Karyn — Tue, 24 Feb 2009 13:52:00 GMT

Q: How and where does an artist dispose of turpentine?

A: Turpentine is a hazardous waste product. You may be able to take it to your local fire department, but you should contact your local EPA (Environmental Protection Agency) office for more information.

Q: What is the best way to permanently attach a piece of Canson pastel paper to a backing board--such a mat board or foam board--to give it more stability and put it at less risk for buckling when it is framed? Is there an archival-quality spray glue that I should use?

A: Lascaux Gloss Medium is a great archival medium that will permanently bond the paper to any porous surface, such as mat board. First, paint the backing with the medium directly from the container or slightly diluted. Then, quickly paint your pastel paper and lay the paper down gently on the backing, starting with the two top corners and smoothing down as you go. Be careful not to moisten the backing or the pastel paper too much during the process because too much water will make the paper curl. If you prefer to use Fome-Cor, it is usually dry-mounted because it can easily warp; a framer can do the dry-mount.

--by Camille LaPointe-Lyons