Framlingham Castle, pastel, (30.5x45.5cm). The aim of this picture was to capture the light on the castle as the sun broke through the clouds after a passing rain storm.
Steve Hall demonstrates how pastel can be used to paint architectural subjects with top advice for working with the medium.
People are often put off painting in pastel because they think it is a ‘messy’ medium to work with. I can understand this point of view but, with careful preparation and planning, it is possible to work in a relatively clean and organised way.
This photo shows a corner of my studio; it has been laid out in laid out in preparation for the commencement of a pastel painting.
My easel is a David Potter field easel, which I use for painting in all media, except when painting very large pictures. The box containing the pastels is homemade and is constructed from a large butler’s tray, divided into compartments by the addition of timber strips.
Steve's top tips for working with pastels
1. Be prepared
Allow yourself plenty of space. In the photo (above) you can see that my materials are laid out on the work surface so that everything is easily to hand.
The pastels are contained in a specially constructed box and all the ancillary materials are within easy reach, including an ample supply of tissue to keep things clean.
I am right-handed, so notice the position of the actual working board, complete with a plastic sheet below to protect the floor covering.
2. Marry in haste, repent at leisure
Be wary of being seduced by the ‘pretty scene’.
Many pictures are doomed from the start because the artist has not considered carefully enough their relationship with the scene before them. They have rushed into trying to capture all the beauty on offer only to find that, on completion, they have produced a disjointed and overworked painting.
What is important is good design and balance; take time to look for the best viewpoints and focus on one particular aspect of a building, perhaps a street corner, sunlight on a gable or other play of light that produces a good design.
Remember, a picture is just an excuse to paint an exciting pattern of light and dark.
Wet Day in the City, pastel on UART black sanded paper 400 grade, (45.5x6cm)
In this street scene featuring buildings, people and traffic I have tried to create the atmosphere of a wet afternoon in autumn. There is little attempt at detail, with people, cars and buildings being suggested by a few strokes of the pastel. Everything is hinted at and the viewer is left to do the rest.
3. Stand back from your work
It is important to stand back from your work and view it at regular intervals.
It is amazing how work that looks correct when viewed close up, is full of errors when viewed from a distance. I usually stand back at least two metres, although I sometimes forget.
4. Choice of framing is important
I have seen many pictures that, although well painted, are ruined by lack of careful consideration when selecting appropriate framing.
I frame my larger pastels as described in the demonstration below. The process also includes a third mount that is smaller and hidden behind the visible main mounts. This creates a small gap behind the main mounts and catches any pastel dust that might fall from the picture’s surface.
For smaller pastel paintings I use a similar process but with a white frame – black would be too overpowering for pictures this size.
Top advice for dealing with pastel dust
I also want to show you my support board (above) in greater detail.
This has two timber battens screwed across the bottom edge, forming a trough, into which any pastel dust falling from the work in progress is caught.
On completion of each painting, I take the board outside, turn it on its side, and give it a sharp tap in order to remove the pastel debris.
For more advice on working with pastels read our guide to pastels by
Demonstration: Bradford on Avon Town Bridge
Bradford on Avon Town Bridge, pastel on UART black sanded paper 400 grade, (45.5x6cm)
The pastels were exclusively Unison colour. I have a box containing about 200 hues so it is impossible to recall exactly what colours were used – I selected colours at random as the feeling took me.
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