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Q: You have spoken about your pastel technique, which involves layering pigments on top of each other, up to 25 to 30 layers. When you do this are you putting the same colors on top of each other?

 

An early version of "Oracle," 26" x 20"

An early version of “Oracle,” soft pastel on sandpaper, 26″ x 20″

Finished

Finished

A:  I do layer Rembrandt black soft pastels on top of each other to achieve the dark backgrounds in my “Black Paintings” and “Bolivianos” series.  Black Rembrandts are the pastels I use most so I order them several dozen at a time.  The 400 or 500 grit sandpaper requires at least four layers of pastel just to achieve even coverage.  Over the next few months I add many more layers of black pastel to achieve the final rich look.

The figures and shapes in each pastel painting are a different  story.  Were you to x-ray them, you’d see many different colors underneath the final one.  Sometimes subsequent colors are closely related to earlier ones.  With each additional layer, I correct, refine, and strengthen my drawing so the objects depicted become more solid and/or three-dimensional.

In addition to the thousands of pastels I have to choose from, I mix and blend new colors directly on the sandpaper.  As I proceed, I am searching for the ‘best’ colors, those that make the overall painting more resonant, more alive, and more exciting to look at.  Of course, this is wholly subjective.

Comments are welcome!        

Q: Why do you have so many pastels?

Barbara's pastels

Barbara’s pastels

A: Our eyes can see infinitely more colors than the relative few that are made into pastels. When I layer pigments onto the sandpaper, I mix new colors directly on the painting. The short answer is, I need lots of pastels so that I can make new colors.

I’ve been working exclusively with soft pastel for nearly 27 years. Whenever I feel myself getting into a rut in how I select and use my colors, I look around for new materials to try.   I’m in one of those periods now and plan to buy  soft pastels made by Henri Roché in Paris.  (Not long ago I received a phone call from their artist’s liaison and was offered samples based on my preferences.  Wow, what great colors!).  Fortunately, new brands of soft pastels are continually coming onto the market. There are pastels that are handmade by artists – I love discovering these – and new ones manufactured by well-known art supply companies.  Some sticks of soft pastel are oily, some are buttery, some more powdery, some crumble easily, some are more durable.  Each one feels distinct in my hand.

Furthermore, they each have unique mixing properties.  It’s an under-appreciated science that I stumbled upon (or maybe I invented it, I’m not sure since I can’t know on a deep level how other pastel painters work). In this respect soft pastel is very different from other paint media. Oil painters, for example, need only a few tubes of paint to make any color in the world. I don’t go in much for studying color theory as a formal discipline. If you want to really understand and learn how to use color, try soft pastel and spend 10,000+ hours (the amount of time Malcolm Gladwell says, in his book, “Outliers,” that it takes to master a skill) figuring it all out for yourself!

Comments are welcome.