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Robert Kirk

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+I intended to post to Robert Jones' 'The Neglected Medium' pastel thread but it has had so much traffic that I decided it was oversubscribed. I don't understand why Pastel seems to be so unpopular. It's a very versatile medium once you begin to see it's possibilities. At its simplest Pastel is a linear medium good for sketching and figure drawing. It is easy to convert the first statement to a painting with freely applied coloured marks. I've illustrated the method with two studies of my grand children. They were done many years ago. The little cutie sitting on my daughter's lap graduated with honours from Bath University last summer. The flesh tones were achieved by light blending with a finger or a rice paper stump. Even greater free mark making is possible when making landscape studies. Pastels let you create strong pure colours. Used with a light touch the marks pick up texture from the paper surface. With landscape it is best to lay in a 'ground' by rubbing the first broad marks into the paper surface. Modifications and details can be added lightly in different colours. My preference is to avoid too much rubbing or blending. Just let the marks live a life of their own. . One landscape is a plein a study of Pen y Ghent in the Pennines. The second is Lake Trasimeno in Umbria. free mark making is possible when making landscape studies. Pastels let you create strong pure colours. Used with a light touch the marks pick up texture from the paper surface. One landscape is a plein a study of Pen y Ghent in the Pennines. The second is Lake Trasimeno in Umbria. With landscape it is best to lay in a 'ground' by rubbing the first broad marks into the paper surface. Modifications and details can be added lightly in different colours. My preference is to avoid too much rubbing or blending. Just let the marks live a life of their own.

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by robK2

Keith Orange

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I like the pastel paintings. I've not used soft pastels for years. To me, the drawbacks are that you need hundreds of different colours, and it's difficult to distinguish between the tones when they are all in the same box.

John Humber

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Like the portraits in particular robK2. I always use pastels for outdoor sketch book work. And occasionally I make bigger pastel drawings in the studio. I'm more than a bit ornery in that I insist on calling my pastel work drawings because it's a dry medium and it's the mark-making that appeals to me. I'm also a bit strange in that although most pastel artists will say be very cautious about fixing because it alters the colours, especially high-lights, I quite like the effect the fixative has and often use it quite heavily on preparatory drawing—such as the laying of ground colours you refer to. I'm also very interested in using pastels in a more semi-abstract/expressive approach to landscapes—Norma Stephenson's work is exceedingly excellent I think. Keora—the answer to that, which I'm sure you've spotted for yourself, is to keep them separate. When you order pastels from Jacksons and the like, they usually come in small boxes with foam inserts. I keep all the foam inserts and I have made a simple wooden box to contain them and keep my pastels separate. The inserts usually hold four pastels; there are four tints of the (for example) Daler Rowney soft pastels; abarcadabra, you can see the connection for yourself. If you group the colours logically and always put the lightest tint of a colour to the left or right of its group that solves the identification problem. And I disagree about the number of colours although you might need to make a decision about what you are going to use them for. I only ever use them for landscapes for example so I have no need of any flesh tints and I've found that I only need two or three of each of blues, greens, ochres and greys. Also, this limited colour palette stops you throwing too many colours at the job, makes you look more critically and helps to develop a more personal approach to your work. PS: yes I do know that acrylic underpainting is frequently used for pastels and I sometimes use it myself, but I still insist on calling my pastel work drawings.

C D

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Agree that the mark-making in pastels is exciting....I can't seem to get the same effects when using a wet medium, like oils and have had to conclude that I'm more of a drawer than a painter. I have gradually learned to organise my pastels into a kind of spectrum, using a box similar to one that Richard McKinley uses, which is divided into long strip compartments....I think Jacksons still sell something similar, which is where I got mine from. I spent a couple of hours loading my pastels into it, from reds/pinks, to yellows and oranges, through to greens and blues, purples and then the neutral stuff. It does get in a muddle from time to time and has to be re-sorted, but I've found it rather easier to locate colours as a result (when it's tidy). I'll admit I've collected quite a load of pastels over the years, but I don't often use more than 20-30 in any one particular painting.

Edited
by oilydust

Robert Kirk

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Keora: I'm pleased you liked my pastels . I agree management of the sticks and the number of colours presents a problem. Oilydust has a good solution. John: thanks for your comment and I'm pleased you liked the portraits. It's a personal choice how you describe your work of course but in this context I would not categorise work as drawings or paintings - just describe them as 'Pastels' if that is the primary medium. Just as you might use 'Charcoal' or 'Line and Wash' when drawing using in a different medium. I visited Pamela Stephenson's website I agree her work is excellent. I noted that she likes the work of some Scottish artists -notable Joan Eardley and Ann Redpath. I wish we had more posts about contemporary Scottish painters. Oilydust: You have a most impressive collection of pastels . I guess you have inserts to keep the contents safe when closing the box. I would be scared stiff about accidentally closing the box without them. It's true pastels are messy and need to be cleaned frequently - I prefer cleaning after a session so that all are ready to start afresh. No artist excited by their bright raw colour is going to worry too much about getting their hands dirty. I was recommended to keep a ball of Blu-tac ready in your free hand to squeeze in your working hand. It's a procedure that keeps fingers clean.　 The links to following pastelists are worth a look - hope they work! Mark Leach - applies raw colour colour without any blending. http://www.markleach.net/ David Blackburn - creates abstract forms suggestive of sublime landscape. http://www.davidblackburn.org/2010s/ Alfred Hitchens - a traditional pastelist with a touch of romanticism.https://en.wikipedia.org/wiki/File:Alfred_Hitchens_(1861–1942...\l "　　　　　
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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I don't think the medium is unpopular, particularly - I've seen a lot of pastel paintings; what I think pastellists tend not to do is comment on their work; I wonder why this is, and have supposed the reason is they're quite happy with working in pastel and don't see a need to invite comment or criticism, or ask for advice.... (just as well if they're thinking of asking it from me, because, sadly, I wouldn't know where to begin: I've always had trouble with pastel, and think one of the reasons for that is simply the lack of space I have to devote to them alongside everything else). Perhaps once you've grasped the basic principles of pastel painting, progress follows from there and it's all too obvious to seek support? I really don't know, but wish I could crack the secret, which unfortunately seems to be entirely beyond me.

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by RobertJones

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Linda Wilson

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Just to be awkward and prove you wrong, Robert. i would like advice with my pastel portraits. Each week I turn up for a two hour session and beaver away at a portrait. Although I am told that I have a good likeness, I think that I end up with a boring result. The model looks bored, probably because they are bored and there is nothing exciting about the result. Has anyone got any tips. there are plenty of examples of my pastel portraits in the Gallery, including today. Any ideas? Linda Wilson
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Linda Wilson

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Thank you John for pointing me in the direction of Ken Paine. He certainly produced impressive portraits. I will certainly consider his approach when I have older subjects/models, but for younger people a more delicate approach I think is best. However I still think that I could somehow produce more drama, perhaps by more contrast.