First used in the 15th century, the medium became popular with artists from the 18th century onwards, as people realised that it took up much less time than painting in oil. One of the most pleasurable aspects of pastel is still its immediacy. It consists of pigments bound in gum which are set in moulds the size of easily usable sticks.
Chalk pastels are similar to other drawing mediums, and can certainly be exploited in a linear manner. They are, however, also often described as a painting medium. This is due to the richness of the colours and the potential for blending, scumbling, creating washes and glazing with them. The vibrant colour of chalk pastels, when applied to a support, is because they crumble into tiny "diamond-like" particles, which reflect off every side with an iridescent quality.
Different varieties of chalk pastel and their uses
It is worth investing in quality materials since they contain higher levels of pigment.
Hard pastels are good for detail work, and creating linear images with defined edges. This applies even more so to pastel pencils.
Soft pastels contain more pigment, because they use less binder. They are good for highlights, softer edges and work where colour is the primary element.
Brands: Hard and Soft Pastels
Hard
Holbein
Conte
Nupastel
Medium
Rembrandt
Winsor Newton
Rowneys
Soft
Schmincke
Unison
Sennelier
Supports
Supports significantly effect the final work, so it is worth experimenting. Obviously you can try whatever surface you like, as long as it is not too smooth to take the powder, but there are many different specialist papers and primers readily available. Here is a summary of some characteristics to look out for:
The tooth of a paper i.e. how much pastel pigment the paper can "hold." A rough textured surface is good for a painterly approach.
A relatively flat paper will provide the opportunity for defined lines and a more linear or pattern based approach. It is not possible, however, to build up many subsequent layers.
Velour paper will hold a lot of pigment and can be used for extensive layering, glaze effects and washes. You cannot, however, use liquid on this paper.
If you want to use liquid on your work you will need to prepare the paper in the same manner as for a watercolour.
Coloured grounds effect the way one applies subsequent colours- a neutral mid-tone is often used for portraiture for example, so that one focuses on shadows and highlights.
Complementary materials
Charcoal and traditional chalks can be used in harmony with pastels.
Pen tends to be a good for defined edges, if exposed. It can also form a discreet under-drawing, since it is absorbed into paper and therefore covered easily.
Watercolour and gouache have been used as a ground or for subsequent layers on pastel works by many artists. They do, however, tend to lessen the coverage of subsequent layers of pastel, particularly hard pastels. If you just want a uniform coloured ground, it is best to buy a coloured paper.
Techniques
Using pure pigments- Laying colours side by side keeps the purity of a pigment. This method can be used to achieve optical effects similar to the impressionists or contemporary artists such as Chuck Close, where optical mixing takes place from a distance. It can also be used to create large abstract colour works.
Painting effects- Washes of pastel can be achieved by laying a pastel down on its side and dragging it across the paper. When using velvety paper, or paper with a fine enough tooth, subsequent washes can be applied lightly to achieve glazing effects over an under-drawing.
Scumbling- This term is used by some artists to describe when you spread the pigment, smoothing or blending it into the paper.
Dry Brush Effect- Pulling a pastel gently across a rough surface achieves a "dry brush" effect, where there is only a very partial coverage. This technique is also sometimes described as "scumbling."
Blending- Soft pastels in particular can be blended very successfully. Over-blending your pastels can cause muddying though. Hatching with different colours can also do this quite well, without so much muddying.
Adding water- Edgar Degas would sometimes steam his pastels with boiling water. The steam creates a paste, which can be applied with a palette knife or a brush. You can also spray a pastel work with water and blend the colours with a brush, before adding dry highlights.
Hard and soft pastels in combination- Use hard pastels and pastel pencils to block in your painting and add linear details. You can then move onto using softer pastels for richer, final layers and/or highlights.
Fixatives- If you are varnishing a pastel work it is important to be aware that this can affect the colour, often darkening it and reducing the purity of hues. The tiny crystals that make up the dust are effectively covered in a thin film and lose some of their reflective qualities. However, it can be essential if there is a heavy build up to use it, in order to protect the image when it is moved. Fixing lower layers can also be useful for building heavy impasto effects. However, always be careful to make sure that the nozzle is clear on the fixative to avoid globules splattering across your work. My recommended fixative is Sennelier Latour.
Making your own pastels- You can rebuild cracked pastels or combine colours. Crush them completely and then add a drop of alcohol/milk, before rolling them into a stick. Once dry, it is ready to use.N.B The softness may be altered by this process.
Removing excess pastel from a drawing-A putty rubber is very useful, but sometimes it is worth using something else first, to avoid smudging. With a relatively smooth paper, a craft knife can be used to carefully prize off any thick chunks of pigment. For papers that hold several layers of pigment, particularly velvety makes, it can be better to use the nozzle of a vacuum cleaner, pressed against the support, to suck off unwanted layers of pastel. A brush can also be useful for retrieving the tooth of your support
Protect workwith tracing paper. Make sure it is securely attached on top of the work so it does not rub.
Open Submission Opportunities for Pastel
Federation of British Artists - All year round.
This includes various exhibitions which accept pastels works, such as The Pastel Society, The Royal Society of Portrait Painters, and The New English Art Club. www.mallgalleries.org.uk