In a previous blog I discussed how pastel can be dissolved with any liquid providing the paper or panel can take it. Pastel can also be applied on top of watercolor, gouache, acrylic, oil or any compatible combination for some interesting results. Here is an example of an orange strip of another medium and blue pastel on top. Remember, the support (paper or panel) for your painting has to accept the liquid so check first.

Note the last strip. The orange pastel was rubbed into the paper without using a liquid. When the blue is put on top, it physically mixes with the orange. Since they are complements, this mixture becomes a gray. In the other examples you can see the orange cleanly coming through the blue pastel because the orange is dry and cannot physically mix with the blue. 

Here are some words of caution especially when using acrylic and oil. If you put a thick layer of acrylic or oil down first, you can fill the tooth of the paper. Then the pastel does not have the tooth or texture it needs to grab the surface. So, use a wash of acrylic and plenty of odorless mineral spirits when using oil. I prefer Gamsol for OMS. Also, remember the rule that oil paint can be put on top of acrylic but acrylic paint can not be put on top of oil paint.

In the example above, I used other media to make a solid orange strip but you can manipulate the medium to take full advantage of it's properties. Here are just a few examples.

I put black gesso on a panel and then used crackle paste in a stencil to make this pot. The type of crackle medium I used was more of a liquid and transparent when it dried. I put pastel on top of the dry crackle. The pastel grabbed it in an unpredictable way providing an interesting visual texture suitable for a clay pot.

In this landscape, I added transparent gesso randomly to add more texture to an already sanded board with tooth. Those marks grabbed the pastel and helped to make the grass and the ground cover.

In the next painting, I used thin washes of oil paint for an under painting. When you let the thinned oil paint drip, it makes luscious marks. Look carefully in the trees where I let some of this show through.

Here, gouache was used under the pastel. I let the colors of the gouache peak through.

If you have a disappointing watercolor painting, try putting pastel on top to fix it. If you forgot to save the white, well, there are lots of white pastels. In this painting, I used watercolor under the pastel. In fact, a lot of the blue in the sky is untouched watercolor.

Pastel is put on top of a mixed media collage in this painting.

Remember that pastel on top of another medium means that the painting has to be framed under glass.

So, try it all! It's fun. There are so many possibilities and so little time.

Sue and Suzy

This might be the last plein air painting of 2015, "Crowley Marsh in December," a 9 x 12 in. pastel on paper.

It was another dreary day which is so typical of our winter. However, we have had very warm weather for December. It was in the 40's. This is the photo of the scene at the Morton Arboretum. Obviously, I pulled out my artistic license. I just cannot embrace gray.

Sue and Suzy

Soft pastels are a fine art medium. They can be dissolved with many liquids for different effects.

Before I go any further, I have to say that it is very important that the surface you are using is capable of accepting the liquid. I learned that the hard way when I first started using pastels many years ago. I want to spare you the pain. Please go to the manufacturer to find out the properties of your paper or panel.

Here is a chart that shows the same blue pastel manipulated in several ways. First it was physically rubbed into the paper without using a liquid. The next strip is the same blue pastel liquefied with rubbing alcohol using a brush. Then I did the same thing with acetone, water, and turpenoid. I used the original Kitty Wallis paper which is a sanded paper with an even tooth. After the pastel dried, I applied the same orange pastel over each strip. I did not show the use of acrylics like matte medium but that is also a possibility that can add dimensional effects.

Now you might be wondering why on earth I would want to do this. After all, it is not necessary. A painting can be done just using pastel and no liquids as I have done in this painting of a pear.

It depends on your objective. If you want your paper color to show through, then just layer the pastel. I wanted the black paper to work for me. However, when you block in the large shapes in your painting, you can use different colors in the shapes and fix that color with a liquid. By "fix" I mean that once the pastel is dissolved into the paper it does not physically mix with the pastel you put on top.

So, this is a great way to do an under painting. Depending on how you apply the liquid and the brush strokes you use, you can achieve many different effects. Here is a loose alcohol wash of pastel on U-Art paper.

Here is the final painting.

This is not all but it is enough for now. Next time I will talk about how pastel can be put on top of other media.

Until then, experiment and be creative. Above all, have fun with this wonderful medium of soft pastels.

Sue or Suzy?

When the weather turns cold in the Midwest portion of the U. S., I switch from pastel to oil painting. Even with a variety of gloves and hand warmers, I find that I can hold a brush with more ease. However, it has been so warm that we encountered bugs this week when we were painting at the Morton Arboretum! I have already switched my equipment to oils and this was this week's painting. "Asian Pond at the Arboretum."

Once again it was a dreary day but we found a pleasant spot on the east side and our artistic vision and artistic license took over.

Last weekend I was in a holiday craft fair. It was an uplifting and a humiliating experience at the same time. I know that fine art does not belong in a craft fair. Knowing that people would want economical holiday gifts and decorations, I brought small unframed art. I broke one of my cardinal rules. I lowered prices significantly. I will not break that rule again.

I said the experience was uplifting because I did get sincere compliments. One woman bought four paintings and had a difficult time limiting her choices.

It was humiliating because some people thought the reduced prices were too high and they thought they could negotiate the price for a better deal. They were actually angry when I said this was the deal.

My other goals besides selling art was to perhaps pick up some commissions or students and build up my email list. Again, this was not why people came to this event. In the end, I had a pleasant time speaking to Abby who sold a lot of soap and scarves and to the photographer across the aisle. Some friends showed up for a nice visit. Karen and Rich bought my lunch. I certainly made more money than I would by staying at home.

For the artists out there, I have a question. Do you see anything wrong with having periodic sales of your art? I would appreciate your input.

Last time, I said that artists have to have new vision when faced with the same scenery. This week we had the promise of unusually sunny weather but as it turned out, we needed that new vision.

Judy, Arlene and I were pleased to have found a secluded, quiet spot that was inspiring at the Morton Arboretum. We were happy to have sunshine even though it was quite cold. That lasted just long enough for us to set up our equipment. Before I could make one brush stroke, the trucks appeared dumping mulch close by. There was dust, fumes and a lot of noise. We had to move our cars and our easels. Then, the clouds moved in and the temperature dropped. Ahhh... the challenges of plein air painting.

Last time, I said we have 5 months of dreary weather in my part of the country. Well, it was dreary but we edited the composition by moving things around. I zoomed in a small section of the landscape. This is a 10 x 8 in. oil on canvas.

I still had a good time and then a hot chocolate in the visitor's center with Arlene.