PAN PASTELS - EXPERIMENT #3

"Innocence" multi-media

After much experimentation, I found that Pan Pastels work best (at least for me) as an underlayment. They allowed me to play with the light and shadow I found so intriguing in the  photograph from which I worked. I did the first three or four layers of this piece in Pan Pastels. I used Strathmore's Multi-Media Board, which is probably why I couldn't get the saturation of color I was after. (I love that board, but Pan Pastels in my hands need something with more tooth.) However, the Strathmore board did allow me to add layers of watercolor, ink, and acrylic. All in all, I'm not displeased with the end result. It's a gift for the fellow who let me experiment with his daughter's photograph. Thank you, AJP!

END OF PAN PASTELS EXPERIMENT: Groan............

I'd read on the Pan Pastels web site

End of experiment and
into the "what I learned" folder

that brushing a 50/50 mixture of rubbing alcohol and water would fix the pastels, thus allowing me to continue adding to the painting. I was excited about how well this worked, but sure enough, my suspicions that I'd chosen far too fragile a paper were proven correct. I expected the paper to buckle but I knew I could fix that later. What I didn't expect was that the next application of pastel would tear the top layer of paper, hence the "blob" on the little girl's left cheek. 

Experiment over, much learned (including the fact that her left arm is SO wrong), still excited. I've already sketched out her likeness on Strathmore's Multi-Purpose 20" x 16" board. I'm eager to see what happens.

WHAT'S ON MY EASEL: Working with Pan Pastels -- Adding and Refining

Intensifying colors, refining details

I'm learning a lot about working with this medium, mostly that I needed to use a substrate with a lot more tooth than Stratford's Series 400 Pastel Paper. I also wish I'd used a much larger substrate; 10" x 12" doesn't give me enough space to work in a more painterly fashion with the Swifft® "brushes" (sponge applicators); they are too large for such a small format. (Hmmm; I wonder what would happen if I tried honing one with an X-Acto knife. They're cheap little buggers...nothing ventured, nothing gained.) Then too I'm fighting the illustration-like image that is evolving but I don't seem to be having much success.  Still, I do like working with these pastels, mostly because of their potential for expressive marks. 

Adding details

I'll take this to its conclusion, if only to complete the experiment and, if I have time, do it again on a larger substrate, one with more tooth. I'm also planning on adding to my palette; I want to experiment with their "tint" pans. 

WHAT'S ON MY EASEL: More of Experimenting with Pan Pastels

Phase 2: Refining proportions, adding shadows

After yesterday's initial blocking in, I've started refining proportions and adding a few shadows...mostly as reference points. I tend to work from the middle tones outward so I'll gradually be adding the lights and darks. I'm impressed with how easily the Pan Pastels erase with a kneadable eraser. I've also learned that I'm being much too energetic when I swipe my Swifft "brushes" over the colors. There's really no need to do that, and it creates too much dust. 

I'm working on Strathmore's 400 Series Pastel Paper. I wish I'd used something with more body to it; this stuff is too flimsy for the way I work.

WHAT'S ON MY EASEL: Working with Pan Pastels

Phase 1: Preliminary Block-in

I've not worked with pastels for years. In fact, I gave away all but a dozen or so of my sticks. I didn't like the constant mess of pastel dust in my studio. But I caved when I saw a display of Pan Pastels at my local art supply store. "Highly pigmented, ultra soft, low dust." 

A couple of weeks after I bought a half dozen colors, I saw a photo of a friend's daughter.  This little charmer with her dandelions begged for the softness that a pastel painting so easily brings to a child's portrait. Here's the first go-round. I'll post subsequent pics (good, bad, and indifferent) and include what I've learned about working with this medium.

And what have I learned so far? Glad you asked. Working with Pan Pastels isn't unlike working with a palette knife. Unlike stick pastels, Pan Pastels allow me to blend colors.There is indeed a lot less dust. Details are impossible...but that's easily fixed with pastel pencils. Details are impossible...and that keeps me from getting too precious. (I'm known for counting the number of eyelashes on a model; a bit too obsessive, you say? Who, me???)