| Several
people have asked about the pastels I have coated with acrylic. The process
evolved over several years of experiments. My primary objective was to
protect the art while avoiding the need for a reflective steet of glass
or Plexiglas. I have experimented with various methods... some failed...
But, eventually I figured it out. I use soft pastels of various brand
names. I use 100% rag acid free paper. And for most work, I use 150 lb.
(or thicker), hot pressed paper. My pastels are not done in the manner
which I see most pastelist doing. First, I seldom blend colors physically.
More often I use a pointillist approach and create small dots or squiggles
of one color next to another. Nothing very thick. I often use the harder
"Nupastel" type of pastel and sharpen the square sticks to a
point to create very small lines or dots of color. (using one sheet of
sandpaper per color flat on the table and rubbing the pastel to a point
on four sides). Knowing I will eventually use liquid acrylic (Liquitex
Varnish or Medium) to coat the pastel image (which would otherwise, once
wetted, warp the paper), I first build a wooden panel (usually a sheet
of "door-skin" with 1"x2" boards at the rear outer
edges). See http://www.johnannesley.com
for the professional panel maker I often use. I seal the panel with an
oil base primer so the wood will not contaminate the back of the paper.
I then saturate the paper with water (like a watercolorist might do) and
while still damp, gently stretch it over the panel (staples at the edges
like an oil painter would stretch canvas). The panel provides a permanent
drawing board and the paper, once dry, is tight like a drum. The papered
panel is then ready for the pastel image. Once I have finished the pastel,
I usually apply one coat of spray fixative to help minimize smearing as
I then use a small brush to apply the colorless clear acrylic right on
top of the pastel. I use a small brush (#1-3) and keep to one color at
a time to minimize smearing. If smears occur, I try to use them as part
of the image or wipe them off before the acrylic has a chance to dry.
Working with small areas of color (dots of about 1/8" average) the
smears are also small. If you work with thick amounts of pastel this part
of the process is a bit tricky if not impossible. The acrylic has to penetrate
the pastel and not have a pocket of dry powder under the layer of acrylic.
After I have given most of the image a single coat with the small brush,
I then use a larger brush (a 2"-3" brush) and cover the entire
image filling in all the small "border areas" between colors.
Usually two coats applied in opposite directions. More layers or thick
layers of acrylic will bloom or cloud the colors and are not advisable.
I experimented with an air compressor spray but found it less successful
and the equipment clean-up was very time consuming. There is a considerable
difference in the look of the pastel once it is touched by the acrylic
(not unlike what occurs if you used a spray fixative). If you are a "pastel
purist" you would probably not like the changes. In my case, I consider
the change to be acceptable and plan for it... Especially since there
is no longer any need for glass to protect the image. Because I had earlier
stretched the paper while it was wet, the final application of the acrylic
moisture has no warping effect on the paper. I leave the paper attached
to the panel, but it could be removed if necessary. Usually, I just frame
the whole thing as it is. As you can see with several works on my web
site, I often create (in pastel) a trompe 'loeil mat around the image
area. With the panel behind and the acrylic in front, there is little
that can damage the art once it is framed. I have often used acrylic inks, pencil and watercolor (after I have mounted the paper) before I start using the pastels. Taking advantage of the characteristics of each medium... details with the pen or pencil... softness with the watercolor... and color and texture with the pastels. A multi-layered, multi-flavored cake. You just have to do the layers in correct order. On one occasion I even used the pastel dust I had saved from the sharpening process and mixed it directly with the acrylic "varnish" and applied it to the prepared panel with a brush. A pastel painting... soft colors (more blended this time) and immediately protected. Another look. |