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In This Issue
Editorial Scribble ......................................................................................................... 2
Guest Judge: Robert A. Sloan .................................................................................... 3
Get Dusty Challenge Results...................................................................................... 4
If At First You Don't Succeed..... ................................................................................. 7
Sennelier Pastel Card- Pros and Cons ....................................................................... 9
Fisher 400 and Clairefontaine Pastelmat Compared ................................................ 11
Canson Mi-Teintes, My Pros And No Cons! ............................................................. 13
Pastelcard and Sansfix ............................................................................................. 14
Home Made Pastel Grounds .................................................................................... 16
Schmincke Pastel Primer.......................................................................................... 18
Grabability .............................................................................................................. 19
Pastel Papers and Surfaces, .................................................................................... 20
An Overview ............................................................................................................. 20
Workshops by PGE Members .................................................................................. 21
Editorial Scribble
Welcome to this extended issue dedicated
to artists reviews of pastel papers and pastel
grounds available in Europe.
This special issue will make it easier for
you to choose which papers to try, and which
fit your style of painting. Maybe you have not
found your ideal paper? Clea shows you how
to make your own pastel ground.
Get Dusty winner Ruth Mann nearly didnt
enter the challenge, as her painting was not
going well. In her demo she tells about her
struggle and the final choices she made which
lead to winning in a very stiff competition with
many excellent paintings.
The Scribbler Team is taking a well
deserved vacation after this extended issue. We
will be back in September, with new articles
and the results of the Summer Get Dusty
challenge.
Contact: scribbler@pastelguild.com
Charlotte Herczfeld
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Black fur and white fur are the hardest to paint. These three charmers are all in a good mood, all
anatomically accurate and brimming with personality. I love that little tortie looking silly in the lower
left, while the black cat's Innocent Look suggests future mischief. All three are engaged with each
other, visually and emotionally connected. Lazy Girl, House Mother and Mischief Maker are all happy
in distinctly different moods. This painting nearly won because of how difficult a multiple animal
subject is and how well Gillian carried that off.
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Honourable mentions
Enchanting Eyes
Cat Tag
by Yvonne Jensen
by Charlotte Herczfeld
by Sharron Blackmore
Composition is interesting, a
tight macro crop I've seen
more often in floral
paintings. "Touch me and get
clawed, I want to play
rough!" is the story. Sink
your bare hand into that
adorable fluffy tummy and
you will bleed. Every tangle
is natural and accurate, that
fur texture is incredible. Her
odd eyes are striking and
luminous. Good mastery of
edges and especially textures
between the short face fur
and luxurious tangled chest
fluff with soft paw and
forehead in between. Purrfect
realism capturing a side of
cats that rarely gets painted.
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Top: picture 1
Middle: picture 2
Below: the finished painting
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My personal favourites
are the Sienna (3rd on left)
and light blue grey (3rd on
right) as these give me a
nice warm or cool ground
depending on what Im
painting.
The cons
The
one
major
drawback with this card is
what happens if it gets wet.
If under-painting is a normal part of your pastel
painting practice then this paper will not suit you.
When wet the vegetable and cork grit lifts off the
paper and will take the pastel with it. There are
other papers out there that are better suited to this
approach. That said the 14 colour range does give a
decent starting coloured ground for most paintings.
The generous tooth also allows you to do a dry
under-painting- I tend to use Conte or harder pastels
like Rembrandt, Daler Rowney or Winsor & Newton
to block in. One other issue to note is to be careful
if you are blowing excess pastel dust off as even a
tiny speck of moisture will show up as a dark spot
on the painting that can be tricky to fix. I
recommend tapping the board to remove excess
pastel instead (its healthier for you too!).
Technical details
Pastel Card pastel card is pH neutral archival
quality and comes as 200lb (400gsm) boards. The
texture is slightly abrasive like a sanded paper. The
grit however is actually vegetable flakes and cork
fixed evenly to the surface to create an ideal textured
surface to grip pastel.
The pros
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buying the assorted pads, there is nothing worse than
if you run out of your favourites and are left with
lots of sheets you wouldnt use.
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Underpainting
Both papers are suitable for
wet
underpaintings,
using
watercolour, Gouache, very
thin acrylic paint or pastel
brushed or sprayed with water
or alcohol products. These
types of underpainting hardly
affect the feel of the
subsequent layers of pastel.
Because
the
Fisher
initially
grabs
more
pigment it will give an
underpainting with more
depth, when using pastel,
than with one layer on the
PastelMat.
Drawing/sketching
Drawing on Fisher 400, with
either a pastel pencil
or a hard pastel like
Cont or Cretacolour,
is easy but don't
expect fine lines,
unless your pencil/stick
is very sharp and you
apply
hardly
any
pressure. It is possible to
erase lines with a normal
pencil eraser or a putty
eraser.
On PastelMat finer lines
can be achieved and it is still
possible to erase the marks made very effectively,
brushing off the residue which does not adhere to
the paper.
First layer
I find that the Fisher grabs more pastel in the
first layer, but not smoothly or consistently.
Because of that I find it quite hard to use Fisher
without blending the initial layer. This must be
done with care as the paper is rough, being
sanded. No fingers, unless you want to lose some
skin! No paper towels, unless you want
fragments of paper towel adhering to the paper! I
use the little polystyrene packing nuggets to
very gently blend the first layer into the paper to
give a smooth look. The alternative is to use a
wet underpainting, see below. I find it best to use
the harder soft pastels for the initial layer or
layers. Ones like Rembrandt, Faber Castell or Art
Spectrum.
The PastelMat is a different story. The first
layer, using the pastel on its side, glides on and,
while not giving complete coverage by any
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very thinly applied, or a very soft pastel, like
Schminke, is used with a thin and light
application.
Colour
Fisher 400 comes in one colour, a neutral
sand colour. PastelMat comes in 8 colours, from
white through to quite a dark grey. The colour
does not matter too much to
me because,
with the Fisher, I usually do
an underpainting to establish
my base colours. However,
if I do not wish to
underpaint I find that there
is usually a colour
amongst the range in
PastelMat to inspire me.
I cannot analyse my
choice of colour but I
know
that,
for
example,
I
will
choose the bright
gold colour for
many
landscapes,
especially those with a lot
of blue in them. I will choose the warm
brownish grey for portraits, maybe because it is
mid value and not too intense a colour. If I use
the white I usually do an underpainting, simply
because the white confuses my choice of pastel
colours!
Other points
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by Marie-France Oosterhof
I paint exclusively on Canson Mi-Teintes
and therefore I know these papers as well as I
love them. I will tell you why.
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Fresas, by the author. Pastel Card handles smooth, impasto, and detail well.
Sansfix
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It is both textured and has a relatively deep
tooth. The pastel strokes go on with an uneven
and scumbled look, which is perfect for instant
foliage. It takes many layers. However, fine
lines and details are more difficult to achieve.
This is a paper for the more impasto and
painterly style.
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Left: Materials
required.
Right:Mixing the
ground.
Middle: Applying
with a roller.
and
http://www.artistsnetwork.com/medium/pastel/
pastel-pointers-homegrown-surfaces-part-2.
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Grabability
How well does the paper hold pigments while you paint?
by Charlotte Herczfeld
Most of us who paint on an easel probably
keep some device under it to catch the dust that
falls off the painting while we paint a folded
piece of paper, foil, or a trough of some kind. I
began to notice that the amount of fallen dust
varied between papers, and decided to compare
how much.
Method
The method used is simple. I took the dust
and rubbed it into a long strip of sanded paper,
and measured the length of how much paper the
dust covered. This is not a thorough
examination, but it still gives some indication of
how well the papers hold onto the pigments
during the painting process.
The pastels I used were a mixture of mainly
Rembrandt, Unison, ArtSpectrum, Sennelier,
and Schmincke. For some samples the
Panpastels were used.
Details of the swatches
The top picture shows fall-off from
paintings of the size 30x40 cm (12x16), and the
bottom picture shows paintings made in A4 size
(about 8.5x12), and the last two are painted
with Panpastels.
The Fisher 400 grabs the pigments
beautifully, and surprisingly there is a mere 1,5
cm difference between an A4 and a painting of
the double size. Clairefontaine PastelMat also
holds on to the pigments really well, with only
12 cm for the larger painting. Both papers
continue to hold the pigment once the paintings
are matted (passe-partout) and framed.
More
surprising
was
ArtSpectrum
Colourfix, which gave all of 22 cm from the
smaller A4. Once matted and framed, there is a
small fall-off, but it ceases after a while.
The Panpastels stuck best to the paper, but
the comparison isnt entirely fair, as a lot of the
dust lodges in the sponge tools which are used
to apply the Panpastels, and the dust is wiped off
of the tools onto a paper towel.
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Sanded papers
Normally, the hard grit is either mixed into
the binder, or strewn on the binder. The former
tend to have a less deep tooth as ArtSpectrum
Colourfix has, while the latter can be rather
aggressive, like Fisher 400. They both hold
many layers of pastel. The more aggressive the
tooth, the more layers they take. The sandpapery
papers tend to be sand-coloured, while those
with grit mixed into gesso can be had in many
colours.
Linen canvas
Often they come with gesso already applied,
and they can be more or less structured. Some
artists apply a pastel primer over the existing
gesso, to gain more tooth.
Softer surfaces
Here we find papers like Clairefontaine
PastelMat, Sennelier PastelCard (LaCarte), and
velour papers. All of them take many layers of
pastel, but the only one who allows for early
blending is Pastel Card, and it is the paper that
holds a hard edge best, the others tend to give
softer edges. All hold on to harder pastels well,
but the velour papers tend to not be amenable to
finish layers with very soft pastels, as that layer
may simply slide off. These papers are made in
many colours.
Pastel papers
The structure of these papers is had by
letting the paper pulp dry on cloth or a metal
grid. The structures of these get indelibly
imprinted in the paper. Papers of the type Ingres
have a striped pattern, while Canson Mi-Teintes
has a structure like honeycombs. The papers
have structure, but little tooth. Both sides of the
paper can be used for painting, and one side is
usually more smooth than the other. Unless you
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Malcolm Jarvis
30 september - 6 october 2012
Burgundy, France
http://www.malcolmjarvisart.co.uk/
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