FIXATIVE and other pastel tips

FIXATIVE and other pastel tips

Fixative will change the character of the pastel, (it varies depending on how heavily the spray applied). But I would still suggest a very light spray over the piece and then if you want to brighten up a few areas go back in and do so. 

Practice spraying on another surface before spraying your painting... all spray cans are not created equal and you want to make sure it isn't going to come out in droplets due to a clog, etc.  plus you need to practice distance and velocity.

Tip:  if you value the piece, then do not use non-archival materials in your artwork like hairspray.

*With pastel pencils you may not need fixative because you will probably not have the buildup that you get with the softer stick pastels*

To minimize fallout or falloff from heavier pastel application Take preventative measures.

1. Use quality paper that has enough tooth to handle the pastel you intend to put on it.
2. Use workable fixative during the painting process especially when you feel the tooth of the paper is becoming full. (use only a very fine mist- do not saturate the pastel or the paper)
3. After completing an area of pastel work, gently tap the back to release the loose pastel. (here is where you then might want to use a light mist of workable fixative) then continue working.  Do this periodically during the painting process to keep the pastel firmly attached to your paper.
4. optimally, you will want to mat and frame when complete- If you are going to stack and store or stand and store you will start seeing smudge and falloff.  If you are planning to store the piece, I would definitely give it a light mist of workable fixative before storing. When you are ready to mat and frame, you can hit a few key areas with fresh pastel to brighten up the pic

* Nothing is really a perfect solution, but here is a storage idea:
You can mount your pastel paper onto museum board and place the mat on the piece for safer storage if you are not ready to frame it yet.

I only recommend stacking if you have firm layers between the artworks.
For example:

1. Mount your pastel paper onto museum board,
2. put the desired mat in place,
3. then layer place a piece of glass (the size of the mat) as the top laye
4. repeat the process for the next piece.   

The museum board supports the pastel paper. The mat keeps the work away from the glass and the glass protects the surface of the art while keeping the works from warping down onto the piece below.

Always use archival materials as separators and supports and mats! 

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CRITIQUE 5 - De-clutter Photo

images below are copyright protected to Artist Karen Sliwinski and are not for use other than in this post as a learning tool.

Karen stated that when turning her photo into a painting there were so many componants that it was difficult to discern the center of interest. She also asked about value variation.
  
ORIGINAL UNFINISHED PAINTING BY KAREN:
Looks GREAT! Love the way you are painting the figures as well as the foliage!


CRITIQUE:
First task is to clear away some of the distractions and see what remains.


ABOVE: Removed extras and added foliage vingette on lower right edge - but note how the tree trunks come to an end right between the man and woman. Even though they are small, the woman's face is important. it is very detracting to have her facial profile lining up with the tree edge. Also, the base of the tree creates a line of sight across her neck, visually decapitating her.

Do not place strong value changes (or light against dark) in areas that are not your main focal point. The viewers eye will be distracted by high contrasting values, colors details and so on.

BELOW: remove distant point, and tree trunk between people - some subtle left edge tree trunks could probably be left in - I would also soften that tree behind the umbrella.

 If what you liked about the original photo was the tree-lined path, then all would have to again be reconsidered. ;)


Critique of Karen's original photo:

ORIGINAL PHOTO:

The photo is very busy with objects and contains many paths leading the eye in several directions through their value or vibrant color.
EXAMPLES:

1. One point perspective tree'd path (in high contrast) leading to far back area of image
2. Another light path between paying man and booth leading to rear area of image.
3. Many subjects and many vivid colors all demanding equal attention.
   

Photo CRITIQUE:


Karen, Thank you for allowing me to critique your photo and artwork in progress! Your painting skills are fab!
cj

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CRITIQUE 4 - Cassie Dog

images below are copyright protected to Artist Jan Stickland and are not for use other than in this post as a learning tool.

Besides a general critique, Jan inquired about what texture and colors can be added to the black fur. The colors used in the light fur are yellow ochre, burnt sienna and white.  

ORIGINAL PAINTING by Jan Stickland:

Actually, a very lovely painting as is!  Such a cute pooch!  This is Cassie!

ORIGINAL PHOTO





CRITIQUE:
Details - In any painting, the first thing I consider is the placement of components in relationship to the overall object and in relationship to each other.  Keep re-checking as you paint to make sure shapes and angles remain as you intend.  

  

A dogs face can be very difficult due to foreshortening of the muzzle, shading, unfamiliar angles, etc..

Another issue is to make the dog look aged. hard sharp lines make the face appear younger, soft sagging lines give the appearance of age. Also a few gray hairs around the muzzle.
 
I often say "if you get the eyes right, much else will be forgiven" So if the eyes are on target, the viewer will not care if you miss a speckle or spot here and there! lol Jan did a marvelous job on the eyes - so alive and right to Cassie's character!
 
After the eyes, I would pay close attention to the shape of the black part of the nose, the muzzle and the shape of the white spot draping across the muzzle. The dogs lips also offer much insight and are an added bonus to further understanding Cassie's character.
 
I determined that the upper paw in the original painting detracted from the facial portrait so I moved down a bit, to be less of a focal issue. The lower edge of the dog's legs and body would appear more natural if softened and with more shading. Added detailing and shading on the cushion would add to the illusion she is set down into the surface.
 
For fur, I would first lay in the light and dark areas with whatever color you are using or burnt umber with a dark blue, maybe a squeak of black. As long as you establish the lights and darks that create the curves of the body. You can glaze these over the existing dark color so they blend nicely into each other along the edges and do not make spots. It may take several glazing layers to reach desired results. Then, you can dry brush in fur on top in a slightly darker or lighter value. I might experiment with some mauves and blues in the white and also the ochre and dark areas - just to break up the very yellow, ochre and dark dark darks... lol
 
A black or white object has much reflected color in it - so for instance, in the white chest, could have some blues, pinks violets etc all the while, the overall look is "white"

Thank you so much for allowing me to critique your painting -
Best Regards, CJ Rider

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Interview by: Sea of Treasures

Photographer and Painter CJ Rider
Interview by: Sea of Treasures

Interview

Q: While this is a photograph, I love your paintings as well, which method do you prefer photography or painting?
My artwork is so intertwined that I find it difficult to choose one over the other. The thing is, if I am not painting in the field or from life, I use my photos to paint from. I do love to paint and it has a high level of satisfaction, however there is also nothing like looking at a disk of photos for the first time after an outing! When you comb through them and find that one little gem of a shot (well, hopefully it’s more than one) that you know has a special “wow” factor; – well, I think we all know how great that feels! Then there is Photoshop, which is a great vortex of time consuming fun too! One medium leads to the other for me which is why I enjoy them them fairly equally. Through my work I find I bounce back and forth between the mediums and when I am drawn to a subject I become very focused on the one particular medium or blend of mediums that best suits it.
For instance, so far, I have painted this photograph of pistachio trees in Oils and in pastels and have a variety of photo renderings as well as works from the digital tablet. Given the glowing aspects of the encaustic medium, I might give it a shot in encaustics too! Love to paint, but there is also nothing like “getting the shot” as well!
Q: Have you ever considered combining the two methods to create exceptionally unique pieces of work?
Yes I actually have combined the two to create new works in a variety of ways. I have used a hand-transfer method to incorporate parts of my photos into my artwork. I have blown up portions of my photo, cut out elements and incorporated them into a piece in a collage type manner. Loads of fun things to do when you combine mediums. I have actually started a painting from my photo, added transfers, then scaned all of that back into the computer and used photoshop to create a few other neat effects. I then print out the work on art paper and add more hand detailing if needed. The results can be very intense with many layers. Lots of fun to do too!

Q: What is your favorite subject matter and why?
I do lean toward people portraits for the most part. There is nothing more satisfying than creating a portrait that captures the essence of the person, even more than the likeness. When a client views their completed painting or photo for the first time and their eyes mist with emotion because the piece has captured that special quality in the subject. That is the best for me. That said, I will frequently sidestep to create a string of florals, still-life, landscapes, animals, or low horizon cloud and sky pictures. I think I take these side trips to refresh my minds eye.

Q: Over the past 5 years what has been the most important artistic lesson you have learned?
I have put together these thoughts from experiences throughout my life in the artworld and they have also held fairly true in the past 5 years: Sometimes you can build creative blockades for yourself because of pre-conceived notions about life, art and the people in it. Besides basic function, common sense and safety; Art and photography rules are meant to be used as jumping-off points to your own path, they are not necessarily the path itself. No one person has the “one true method or way”. An artist takes the information and creates their own vision and path, shut out the noise and chatter, and allow the mind to accept and react to its own creative voice from within! So I guess to sum it all up into one lesson maybe I would say: ”be true to your inner creative being” An often over used saying, yet it’s “easier said than done”.

Q: What made it so valuable?
Being true to myself, not blindly buying into popular or pre-conceived notions or popular stereotypes has freed my own creative eye. I am not afraid to create something that is not the “norm”. I have had many art labels ascribed to me over the years as I splash and dabble along to my own tune, I have had to use these same art labels to describe my website, workshops or other public postings. I just don’t let them box me in or stifle my curiosity, experimentation and eclectic nature.

Q: Looking ahead over the next 5 years what do you aspire to achieve artistically?
I would like to see my Budding Artist program grow. (BuddingArtist.Info) It is an art workshop each week for “at risk” children. I would personally like to put some of my artistic ideas and “how to’s” in book form to give others the info that I wish I would have had when starting out. Much can be demystified for aspiring artists and photographers.

Q: What artistic method(s) are you looking to master in the future?
I would like to further perfect my skill in Encaustic painting, it is a fascinating medium. The technique is centuries old but continues to quietly draw people into its rich beeswax and vibrant colors. Once you play in the wax you are hooked (it is very sticky)! I have dabbled in it for many years but am currently jumping back into it with both feet. Actually, a fairly new venture for me is working with YUPO paper, a plastic-like paper. I keep on working it and hope to stay in the saddle until I can make the paper respond more favorably to my brush!

Q: Is there an artist out there who’s work inspires you?
Lately I have run across so many inspirational artists on Fine Art America and other internet artist havens. It has really broadened who inspires me to a level where it is difficult to list them all off If you would have asked me this question before the internet – I would have had a couple of very clear answers for you- because back-in-the-day “we” were all exposed to basically the same handful of artisans. But now, there are so many to look up to and be inspired by.

Q: Is there a project or piece of work that you will be sharing with your fans in the near future?
Yes, I am working on a series of encaustic works that I will be sharing in the near future. The pieces will be from realistic and detailed to abstract and instinctual. If what I have so far is any indication, it should prove interesting.

Q: What can you say about it to wet our appetites?
You will see rich colors, textures and translucency that only hot beeswax can produce! You may even see bits of my photography involved!

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Weekly Art Instruction in Tempe Arizona

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Desert Mallow - Watercolor - CJ Rider

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