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Q: What does a pastel feel like in your hand?

With “Prophecy,” 70” x 50,” at Westbeth Gallery

With “Prophecy,” 70” x 50,” at Westbeth Gallery

A: Each manufacturer uses distinct binders to hold the raw pigment together to form a pastel stick. Due mainly to this binder, each pastel feels slightly different. Rembrandts are medium-hard and I generally use them for the first few layers.  The black backgrounds of my pastel paintings are achieved by layering lots of Rembrandt black.

I enjoy using Unison because they feel “buttery” as I apply them to the sandpaper.  If you’ve been to my studio, you know that I use just about every soft pastel there is!  Believe it or not, no two are the same color.

Each pastel has its own qualities and some are harder or more waxy than others. Henri Roche has the widest range of colors and they’re gorgeous!  I want them to show so I use them for the final layer, the ‘icing on the cake.”  

Comments are welcome!

Q: Do you consider your finished pastel works to be drawings or paintings?

"The Sovereign," soft pastel on sandpaper, 58" x 38"

“The Sovereign,” soft pastel on sandpaper, 58″ x 38″ image, 70″ x 50″ framed

A:  Among artists who work in pastel, these two words, ‘drawings’ and ‘paintings,’ have very specific meanings, somewhat unrelated to the usual distinctions made by art historians and others.  For a pastel artist, a ‘drawing’ refers to a work in which the paper or other substrate is allowed to show through.  In a pastel ‘painting’ you do not see the substrate at all, i.e. pastel is used much more heavily in a painting than in a drawing.  Since I have always spent months creating each piece, covering the entire sandpaper ground with up to 30 layers of pigment, I have considered my work to be pastel painting.

Comments are welcome!

      

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