Many of us started working with pastel in the Dark Ages. There were very limited supplies available and sanded pastel surfaces were no exception. We found out we could make our own, and many of us did and still do (see my previous blog on the subject). To use a commercially available surface, we had to compromise the archival quality of the finished painting since these sanded papers were manufactured with very even surfaces of varied tooth and were nothing more than fancy sheets of hardware store sandpaper. They were never intended for fine art application. This lead to a struggle between the desire to work on a surface we enjoyed and the need to have finished paintings that would stand up to the demands of time.

One of the most commonly used sandpaper surfaces was Ersta. It accepted pastel beautifully and was a favorite among a lot of pastel artists for its consistent tooth over a range of grits. What worried us was the acidic paper. This lead to the rise of other sanded papers usually manufactured under the guidance of a professional artist. One such surface is Wallis. Recently Uneeda Enterprises, Inc. has reintroduced Ersta as PH neutral and acid-free. The paper is called Uart Premium Sanded Pastel Paper and is available in a variety of grits. Grade 400 and 500 are moderate grit, and 600 and 800 are considered fine grit. The color of the paper across the line is a manila/beige, just like its predecessor. Available now through major distributors, it will soon be offered in a dry-mounted version, a favorite for wet underpainting applications. It accepts watercolor and very thin washes of oil, as well as a host of other mediums. I'm testing the lightfastness of the paper color and will let you know the results in a couple of months (check the previous blog for information on testing lightfastness). Uart is seeking original pastel artwork done on their surface for inclusion on their website and artists are encouraged to submit works. For more information, visit their (www.uartpastelpaper.com) or email them at:uart@uneeda.com.

Apparently, sometimes something old can be new again.
 
In the photo above: A dry mounted test sample of the four grits of Uart paper with repetitive pastel marks.

Q: I've studied with a couple of different pastel artists and one of them sprays throughout the building up of the painting, and blends until no dust comes loose, then ends with a final spray. The other one blends with the pastel stick and never sprays the painting.  What is the most common and preferred method? 
 
A: To fix or not is one of those ongoing pastel dilemmas: color shift, a slight darkening and dulling, will occur to some degree when fixative is applied to a pastel painting; however, a thin layer of fixative makes for a more stable pastel surface. Weighing the pros and cons becomes, int he end, a personal choice.

Fixatives have come a long way from the early heavy resin varieties that created considerable color shift. Many modern brands like Lascaux, Sennelier Latour and Daler-Rowney Prefix (see photo) create a minimum of color shift and are favored by many professional artists. These fixatives are of the highest quality, utilizing acrylic resins and are non-yellowing. This makes them very suitable as a final protective application. Brands like Blair No-odor and Krylon Workable Fixatif produce more noticeable color shifting and are better suited for isolating layers of pastel. This replicates the technique of an oil painter that allows individual layers of paint to dry before adding another. Fixative can also be used to settle a heavy pastel buildup.  This provides additional tooth, allowing more pastel to be easily applied.

Historically, fixatives were supplied in a liquid form and applied with a breath-propelled atomizer. With the advent of the aerosol canister, application become more convenient. Some artists may still prefer to apply fixative in the old-fashioned manner for technique or for environmental reasons. Practice and good lung power will be needed to effectively work in this manner. Hair spray is often mentioned as an inexpensive alternative to artist grade fixative, but most hairsprays contain oils, perfumes and other conditioners that make them better suited for your head than your artwork.

When applying fixative, multiple light applications are highly recommended. Heavy over-saturated applications often lead to increased color shifting, shiny areas, and the tooth of the surface becoming filled.
 
Every artist becomes comfortable with his or her individual technique. While many artists that work in multiple layers utilize fixative, the majority shun it because of its ability to alter the appearance. Personally, I use very little fixative in my work. Sometimes, however, I might use a light spray to stabilize a drawing before applying an underpainting, or I might use an isolated spray to settle a heavy pastel passage for additional work. Recently however, I have begun applying a thin final fix, using one of the above mentioned quality fixatives, to add more stability to the finished painting.  By practicing proper application and utilizing the availability of high quality fixatives, the benefits of a more stable final surface might be worth the “fix.”