the need for using fixative. Similar in feel to Mi-Teintes paper, it has a light card backing, and is acid-free. It is ideally suited to pastel work.
Charcoal paper
This inexpensive paper is useful for rough pastel sketches. However, it is rather thin and fragile, and you may find its regular, linear surface texture too monotonous.
Choosing a surface
A pastel painting is very much a marriage of the medium and the paper. The two work side by side, creating an exciting fusion of texture and colour. When choosing a surface for pastel painting, there are three factors to be considered.
Texture
Texture is a vital part of pastel work, and the choice of surface can make or mar the finished picture. Smooth papers allow you to blend colours smoothly and evenly where a soft, delicate effect is required, whereas rougher papers break up the colour and provide a vigour and sparkle.
Colour
Pastel paper is available in a wide range of colours. In pastel painting, areas of the paper are very often left untouched, and contribute to the picture. For example, the paper can be chosen to harmonize with the subject, or it can provide a contrast.
Tone
The tone of the paper has considerable importance in a painting. ‘Tone’ refers to the relative lightness or darkness of the paper, regardless of its colour. In general, a light-toned paper emphasizes the dark tones and colours in a painting. For dramatic effects, use light pastels on a dark paper.
Tinting papers
Using a teabag
There may be times when you wish to tint your paper by hand. For instance, you may find the colours of pastel papers too flat and mechanical, and prefer the more painterly look of a handtinted ground. Or you may want to work on watercolour paper because you like its texture, but white paper doesn’t show the vibrant colours of pastel to best advantage; it makes them look darker than they actually are.
Methods for tinting papers
Using crushed pastels
Watercolour, acrylic or gouache paints can be applied with a brush, sponge or spray diffuser to leave a pale tint of colour. You can modernize an ancient Chinese method by rubbing a damp teabag across the surface of the paper; this creates a warm undertone. Another technique is to save the broken ends of pastels and crush them to a powder with a heavy object. Dip a damp rag into the powder and rub it over the paper. When the paper is dry, tilt the board and tap the surplus powder off.
Using rough paper
If you work in a bold, vigorous style, with thick layers of colour, choose a rough-textured paper such as sand-grain, or a rough-textured watercolour paper. The hollows in rough paper are capable of holding enough pigment for you to apply several layers of colour without the surface becoming ‘greasy’. The rough texture of the paper also contributes to the visual effect of the painting: the pigment catches on the ridges of the grain and skips the grooves, creating a sparkling, broken-colour effect.
Using smooth paper
Smooth papers are best suited to fine details and linear work because the shallow grain quickly fills up with pastel particles, and the surface becomes greasy and unworkable if too many layers of pastel are applied.
Using mid-toned papers
These are generally the most sympathetic for pastel drawings. They make it easy to judge how light or dark a particular colour should be, and provide a harmonious backdrop to most colours.
Working on pastel papers
Choosing and exploiting the qualities of a particular paper is one of the pleasures of working with pastels. These examples show how different textures, tones and colours interact with the pastel pigment, thereby creating a range of expressive effects.
Detail on rough Mi-Teintes paper
Carole Katchen
African Smile
Pastel on Mi-Teintes paper
Detail on velour paper
Andrew Hemingway
Red Oilcan, Peaches, Plant Pots and Eggs
Pastel on velour paper
Detail on toned Ingres paper
James Crittenden
Through the Olives II
Pastel on Ingres paper
Detail on watercolour paper with coloured-acrylic tint
Judy Martin
Downs View
Pastel on watercolour paper
SEE ALSO
Anything that makes a mark can be used as a drawing tool, but over the years the versatility of certain materials – especially pencil, pastel, charcoal and ink – has made them enduringly popular among artists of all abilities. No one drawing medium is intrinsically superior to another. One artist may enjoy the broad handling that is possible with charcoal or soft pastel, while another may prefer the control and precision of a harder point, such as pencil. The best course is to experiment with different materials and techniques until you discover which ones allow you to express your artistic vision most fully.
| DRAWING PAPERS | No matter what your chosen medium, the paper you draw upon plays an important role in the success of the finished work. |
