| 12 November, 2012 09:28
More and more, I find myself not only working with an underpainting when working with pastels, but beginning a painting with acrylic, and then by adding a couple of coats of fine pumice gel, finishing the painting in pastel. I have been working primarially on masonite panels coated with three coats of gesso. Then I develope the drawing, usually with charchol pencils. This drawing may be developed into a full fledged value study, but sometimes it may be briefer, only defining the minimum shapes. Then, beginning with thin washes of color, I set abouit building the basic colors and shapes of the composition. When I have the basics of the painting established, then I add two coats of Fine Pumice Gel, brushed on in opposite directions. Over this, I am able to work pretty freely with pastel. The finish is different depending on the painting. On some occassions I fix the pastels with fixative, and frame under glass without a mat. On other paintings, I have fixed the pastel first, and then put on a coat of clear varnish. In this case, the painting is framed like an acrylic painting without glass. The question is the how the pastel has been used, and how high the color key of the pastels. The varnish deepens the colors of the pastel to some degree, so if this works within the context of the painting great. If not, then the work must be fixed and framed under glass.