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Monday, December 17, 2012

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.

Monday, December 10, 2012

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.