Pastel FAQ: How Do I Choose Underpainting Colors?

'Woodland Reverie'          8x10       pastel         ©Karen Margulis
available $195

The fun continues in KEMStudios. It is great to be home with nothing on the agenda other than paint for pure enjoyment. It is a perfect time for experimentation and new discoveries. Today's painting was done on the new Yi Cai sanded pastel paper and it is a good example for today's Pastel FAQ.

How do I choose the colors for an underpainting?  

That is a loaded question and an important one. Underpaintings or block-ins as I sometimes call them set the tone and mood for a painting. Of course the colors we choose for the underpainting will have an effect on the finished painting. Warm colors tend to give a sunny feeling while cool colors tend to promote a moody or cool feeling. That is just a general truth. There is a lot more that goes into choosing underpainting colors.

• You can either choose colors that serve a purpose such as choosing local colors or choosing colors to promote depth or choosing simple value based underpainting colors.

• You can choose colors that don't solve a potential problem but are just playful such as choosing bold colors or complementary colors....colors that are designed to promote visual excitement or just lead to wonderful happy accidents.

It is important that we experiment with many different underpainting choices rather than relying on the same color solutions for each painting. The more we do,  the more experiences we have... the sooner our color choices for underpaintings will become intuitive.

How did I decide what colors to use for the underpainting for this painting? I selected colors to serve a purpose rather than playful. I did cover up all of the underpainting because it was designed to serve only as my roadmap.

• I used color to set up a value map. I chose dark blue for the dark areas of the woods and the shadows in the grass.

• I used light values for the sky and tree trunks. (aspens) I used light pink for the lightest trunks and light blue for the trunks in shadow.

• I used bright pink for the areas in the grass that will have flowers. This is to set up the massing of the little flowers.

Scroll down to see the development of the painting. I am using a beige  piece of Yi Cai sanded pastel paper. I used Nupastels and a wash with water. The paper bowed very slightly but flattened out as it dried. Note the interesting texture this paper has.

closeup detail

Note: I am loving the Yi Cai paper. I need to do more wet underpinnings on lighter paper. This one didn't really show up because the paper was a dark-mid value. I really enjoy how the pastels seem to go on like butter. I am able to get both nice thick textured marks as well as fine detail with harder pastels. The experiments will continue.

Pastel FAQ: All About Pastelmat Paper

'The Lazy Days of Summer'           11x14         pastel        ©Karen Margulis
available click here to purchase $175

It's Thursday and time for my new blog topic....Pastel FAQ.  Every Thursday I will answer one of the many questions I get from you my wonderful readers!  Today I want to share some thoughts and information on Pastelmat paper. Have you tried Pastelmat yet?

Pastelmat is a paper that I really enjoy but I don't use it much. I always forget how much I enjoy it though and need to add it to my next paper order. In this post I will answer some questions about the paper. Let me know in the comments if you think of any additional questions.

What is Pastelmat paper?

Pastelmat is a paper for pastels made by Clairefontaine. It has a unique surface that feels smooth and velvety but takes a surprising number of layers of pastel. It is acid free, archival, lightfast,water resistant and comes in 8 colors. Here is some information taken from their website:

PASTELMAT® is a premium card surface (360gsm / 170lb) specially developed for pastelists. Its unique velvety surface, made from a fine coating of cellulose fibers, has the ability to grab and hold multiple layers of even the softest pastels. 

PASTELMAT® significantly reduces the need for fixative, which means that colors remain vibrant and fresh once applied. It has the added bonus of being gentle on both fingers and blending tools. It is acid free and lightfast.

PASTELMAT® is ideal for use with all dry media - pastel sticks, PanPastel, pencils and charcoal. It is also water resistant which means that it can be used with wet media – such as acrylics and watercolor for washes and mixed media techniques.

Is it a sanded paper?

It is sanded paper but it feels much like very smooth sandpaper.  The surface is on a nice heavyweight card 170 lb. It is made from a matrix of finely woven cellulose fibers. (think sponge)

Does it take a dry wash/underpainting?

Pastelmat does take wet underpaintings and washes. I have experimented with the paper and report on my findings below. 

TIP: Wet underpaintings work best on white or very light color papers. They don't show up well on dark or even the middle value colors.

A piece of white pastelmat paper used for a cloud demo....let's experiment!

 I used a piece of white Pastelmat that already had some pastel from a cloud demo I had done. Before trying a wet wash I decided to try to do a dry wash. One of my favorite ways to start a painting is to simply blend in the first layer of pastel with a piece of pipe insulation foam. I like to have a soft out of focus layer that covers all of the white of the paper.

It didn't work so well on the Pastelmat. I had used a few layers of Terry Ludwig soft pastels. I tried to rub them in with the pipe foam. The paper had initially grabbed the pastel and refused to let go! It was difficult to spread the pastel out from the area where I had initially applied it. I found that the more layers there were the more readily I could blend and spread the pastel.

This ability to grab the pastel and not let go is a good feature if you are concerned with pastel dropping off the paper. I don't use fixative but I can see how this paper would allow an artist to use less fixative. It really holds the pastel!

I had a hard time blending out the pastel with the foam. It didn't want to move!

Does Pastelmat take a wet wash / underpainting?

Yes it does. I tried both 70% isopropyl alcohol and water with different results for each. But for both wet washes I didn't get the drips and happy accidents that I usually get on my favorite paper Uart. That is because of the cellulose fiber makeup of the paper. It is truly like a sponge. It grabs the liquid and doesn't let it move...or drip or mingle. So the wet wash allowed me to tone the paper but it didn't do anything interesting or exciting.
See blow:

I used alcohol on the left and water on the right.

 NOTE:  The alcohol wash side dried in under 10 minutes...longer than on Uart but much faster than the side washed with water. The water side took about 30 minutes to dry! It was like a wet sponge. The alcohol side also dried FLAT while the side washed with water had a buckle and wave. I was able to flatten it under heavy books.

I have also tried watercolor on Pastelmat in the past and the white paper was wonderful. The colors were bright and vibrant.  The sponge-like surface prevented any blooming or running so again no happy accidents. I happen to like happy accidents!

The water side buckled slightly while the alcohol side stayed flat.

Several layers later and still going strong. I did use some workable fixative for texture.

close up

Available Pastelmat colors

Final Thoughts:

Like any paper Pastemat requires a learning curve. It takes several paintings to get to know how the paper performs. I recommend buying a few sheets or a pad and cutting them into smaller pieces for more practice opportunities. I find that the softer pastels work very well on this surface. I don't use PanPastels but I have heard that the smooth surface is a wonderful fit for the Pans since it is kind on the sponge tools.

UPDATE: A reader wrote the following: Hi Karen, I just read your blog on pastelmat. Pastelmat is also available in four other colors. Wine, dark blue, light blue and sand. They add a lot of possibility. Those colors and pads don't seem to appear on pastelmat websites. They are available through Dakota Art Pastels and in their catalog. Much more striking than the catalog shows, of course. 

 You can read more about Pastelmat on the website here: www.pastelmat.com
It can be purchased on any online art store. Try Blicks here.


Do you have any pastel FAQ for me? Ask them in the comments below.

What Can I Do With Leftover Pastel Dust?

'Aspen Joy'      5x7        pastel       ©Karen Margulis

Ask and you shall receive!  I asked for your pastel questions and I am thrilled that you are sending them in. Keep them coming!  I appreciate the questions and feedback you are sharing with me.  Today I will answer one of the questions and this Q & A will become a regular blog feature.  Here is today's question:

Since you asked :-) here's my pastel question--what's a good thing to do with all that leftover dust (besides throw it out)? I know some people make their own pastels but I haven't heard of anyone who had great results--it seems they don't stick together too well. 

Applying pastel dust with a brush and foam

Great question!  I have been keeping a large jar to put all of the pastel dust that I collect in the tray on my easel.  Last year I even had my students empty their dust into the jar.  It is half full of a very nice blueish gray dust. My intention was to make pastels with the dust but I haven't tried it yet. So I can't comment on how well that works. But I did discover another way to use the dust.

I used a paintbrush and painted with the dust! Since it was a nice neutral it made a great underpainting. I blocked in the values of my subject which was aspen trees.  It was like using powdered charcoal. I tried using a foam brush for larger areas and I used a kneaded eraser to remove pastel and draw thin branches into the pastel.

Creating new pastel dust to apply to painting

I enjoyed the process and the softness that the painted dust created but I began to feel limited by the gray color.  I know some artists save their dust by color and have jars of colored dust. I didn't do that so all I had was gray!  So I decided to make my own colored dust.  I shaved little piles of colored dust onto a piece of foam core and brushed the colored dust onto my painting.

I finished the painting by adding a few details and highlights with a pastel stick but them majority of the painting was completed with a brush and some dust!

Have you found other ways to use your leftover pastel dust?

Pastel FAQ: The Development of a Commission

'Together'       11x14     pastel 

It is magic when I can create a painting that matches someone's vision.  That is part of the joy of working on commissions.  I know a lot of artists who don't enjoy painting commissions but I welcome the challenge.  I have met so many people with interesting and sometimes compelling stories.  I could write a book based on the commissions I have done and the stories behind them.

Commissions are a challenge though. When someone wants a special painting they usually have a vision in mind or at least strong feelings about the subject. My job is to try to figure out what they want and get as close as possible without sacrificing my style. Here are some photos of my most recent commission along with my commission process.

My working space with reference photos and study

The 5x7 study for the painting

Step 1: I painted the gulls before the background

1. The first step in the commission process is to agree on size and pricing. I don't request payment in advance because I want the client to be completely satisfied. I have only had one cancelled commission and it was due to an illness in the client's family.
2. Next we discuss the idea for the painting. I try to get as much detail as possible about subject, colors, composition, mood. I have the client show me photos of my work that best matches their vision.
3. I then do some small color studies. I use the paper and underpainting techniques that I plan to use for the final painting. Through email, we discuss the color study and agree on the final details.
4. Time to paint! When I am finished with the painting I take several photos and email the client. If needed I will make changes until the client is pleased. 

The story behind this commission: The painting is based on a poem written by the client. The painting includes elements in the poem and each element has a very special and personal meaning. The client initially saw one of my seagull paintings but requested a commission that would incorporate the elements from the poem. 

I welcome commissions in both oil and pastel. I am currently accepting commissions for the holiday season. Please email me if you have an idea for a special painting.

Pastel Q & A ...Do You Use Fixative?

'The Coming Storm'           11 x 14      pastel          ©Karen Margulis
purchase painting with paypal $175  click here

To Fix or not to Fix....that is today's Pastel Question.  I get this question from both artists and collectors. Do I use fixative on my pastel paintings.  The answer is Yes and No.  I use fixative to create special effects or to restore tooth to an overworked painting.  I never use any fixative on a finished painting.

What do you do to a finished painting?

• I have always found that fixative darkened and dulled my colors so I preferred not to use them. I realize that there are some fixatives such as Spectrafix that claim not to change the colors, I have tried Spectrafix and have been pleased with the results. But I am so used to not spraying that I'd rather not take a chance with them. ( I once had a spray bottle squirt our blobs of fixative and ruin a painting so I don't want to take the chance of the happening again)
• I build up my paintings in thin layers on sanded surfaces so I have very little dust build-up. I find that a good whack on the back of a finished painting is enough to dislodge whatever loose pastel is on the paper. I store paintings in between layers of glassine paper until framed. If I sell an unframed painting I cover with glassine and give instruction for proper care. See my post here on shipping pastels.

close up of the texture achieved with fixative

Spectrafix and Blair workable Fixative...my fixatives of choice

When do you use fixative and what kind do you prefer?

• I love using workable fixative to create special effects. I take advantage of the fixative's darkening effect when I want to darken a passage in the painting.
•  Fixative will restore tooth to overworked areas but the pastel layers on top of the fixative will be rougher. I happen to love this effect and exploit it.
• I find that working over a layer of dried fixative creates an interesting textural effect. The pastel skips over the 'fixed' layer allowing the darkened layer to  peek through. (see photo)
• To get even more interest you can let the fixative drip or dribble on your painting. The little dark spots can be exciting in the right place.
• I have worked pastel into wet fixative for an almost sculptural effect.

Do you have a pastel related question for me?  I am making a list of questions to use in this weekly blog topic so comment below of send me an email with your question.

Pastel FAQ ...Favorite Pastel Paper

'Time is Golden'        16x20           pastel             ©Karen Margulis   $250 paypal here

The painting before I changed it

Let's talk about pastel paper. I am often asked what my favorite paper is. I'll answer that question as the first installment of my Pastel FAQ Friday Feature.  Every Friday I will try to answer a pastel related question that I have been asked. If you have a question please ask me in a comment or email me.

Paper....I have not come across a paper that I dislike. I have discovered through much trial and error that different papers suit different subjects and techniques. Some papers are wonderful for detail, some do great with wet underpaintings, some take many layers and some are good for quick studies. I like to keep several types of paper on hand and I make a choice depending on what I am going to paint. I also prefer to buy full sheets and cut them to size as I need to.

Even though I like most of the papers available on the market there are some I use more and there is one paper that I would choose if I was going to be stranded on a desert island and could only bring one paper.  I tend to use sanded papers most often though I do like Canson for a change of pace or when I don't want to do an underpainting.  I like hard surfaces such as Pastelbord for the ease of framing and for wet underpaintings but I prefer the 'give' of paper rather that the stiffness of a board.

So what is my top personal favorite paper *******drumroll********** It would have to be Uart sanded  Paper. I prefer the middle grade grits 500 and 600.  It has a nice even sanded surface and comes in a manilla color which doesn't bother me. It takes many layers and it takes abuse such as layering with fixative and wet underpaintings. In fact that is why I love it. Uart paper rarely buckles or gets wavy when wet. I don't even have to drymount it. I just tape it to my board and it stays nice and flat. I can take it on plein air outings and not worry about mounting the paper (saves room)

So there is my answer to my favorite pastel paper. What is your favorite? Why do you like it?

Today's painting is another demo that I didn't finish. I wanted to give it a different mood so I changed the color palette by using fixative and different colors.