Painting in Santiago Canyon









I picked this spot along Santiago Canyon Road because of the Sycamore trees hanging over the dried grass in the valley.  I liked the shadows upon the grass, the oaks on the hills, and the Sycamore trees shape.

Santiago Canyon Painting

The size of the masonite board I was painting on was 24"X36".  It is treated with pumice gel and acrylic paint to hold the pastel.  I wanted my subject to be more intimate than it had been in recent paintings.

This painting will end up being a studio painting.  The color needs work.  The shapes need refinement but the arrangement of the elements and the feeling of the light will serve me well when I take this to a studio work.

The goal is to get the plein air piece to read as a completed painting.  This one did not make it.  One painting one sitting win or lose.  However there is enough to build from.  Another painting on my journey.

About Pastels / Framing Pastels

• Pastels are pure pigment held together with a minimum amount of binder.  It is the same pigment that is used in oil paint or water colors.  The difference is the type of binder used.
• Because of the limited amount of binder, pastels are able to retain their brightness and fresh look much longer the oil paintings.
• The key to keeping your pastel painting in top condition is the way you choose to frame your painting and some thought to the treatment and placement of the painting.
• Please take our painting to a professional framer who has experience with pastel paintings.
• Matting pastel paintings is the most important aspect to the framing process.  Insure that all materials are archival in nature.  Please only use 100% rag mat museum board.  The archival materials are acid free and will not yellow.
• Flannel boards make any loose particles that may come off of the painting nearly invisible.
• Use a 3" mat for small paintings and a 4" mat for larger paintings.
• A key aspect to the framing of pastles is the use of a spacer around the painting.
• You can use an acid free foam core spacer that can be attached to the underside of the window mat-or you can make a window mat out of the acid free foam core with a slightly larger window cut than the top mat.
• The spacer lifts the mat off of the painting and allows pastel dust to fall behind the mat.
• The air space created between the painting and the glass is important.  The painting should never touch the glass.
• Framing isn't really the concern with the pastel paintings other than making sure there is enough room for the mat package to fit in the frame properly.
• Do not use acrylic or plexi glass when framing pastels.  The static electricity will pull pastel off of the painting surface and onto the glass surface.
• Single glaze glass works well and is recommended but museum glass provides a more professional and finished appearance.  It eliminates almost all of the glare and reflections coming off of the glass.
• When placing your painting please do not place it on a wall that will receive direct sunlight.  The heat created by the light will create condensation and make the pastel dust streak in the condensation.
 

 

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