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Portrait Pointers

Curious about what is involved in the creation of a pastel portrait? Well, the same materials as those used in other pastel works are utilized when creating portraits. The tones and colors might vary, but the overall approach to technique, application, approach, and finishing is essentially identical.

Since one of the most important elements in all pastel work is the paper (or other ground) onto which the artwork is done, that is the best place to begin our investigation. Paper choices can include anything from soft, neutral tones to vibrant and rich jewel tones. Darker tones offer the element of depth and color complement to the finished portrait. These colors peak through from beneath the skin tones and often give a glow to the work that is achieved in no other way. Such a case might be the use of a tone that is the direct complement to the tones used in the portrait. A mellowing of the overall work is achieved with this play of tones. Similar results can also be achieved by painting the surface of other grounds (canvas, panels, heavy watercolor paper, etc.).

The pastels could be either soft or hard, but soft is generally the preferred choice by long-time portrait artists. For distinctive elements in the late stages of the work, many professionals use hard pastels to add sharp, linear detail and surface interest. Hair, beards, grasses, and fine detail, in general, can be amplified by using sharper lines in those areas.

Palette color choices vary greatly. Just as there are thousands of skin tones and variances, so are there many possible color combinations used in portraiture. Complementary tones are used to bring depth and vibrancy to the tones. Lights and expressive darks are used to give drama and depth to the subject. And the use of totally "foreign" tones like super brights and dynamic colors are used in many portraits to capture the viewer's interest. Shades that are not normally associated with flesh tones, colors not natural to actual skin, can be dramatic. They seem to pique the interest of the viewer and draw him in, offering more than the vision--offering excitement, too.

Textures can play a vital part in portrait work. One simple method to achieve textural interest is to choose a paper such as heavily textured watercolor paper where automatic texture is guaranteed. Other textures can be applied to a surface where textural interest is desired. While layering pastel can require skill (because the paper "tooth" fills and can no longer hold the soft powder), there are some tricks to help. Try what Edgar Degas developed: He used steam to soften and moisten his applied pastels. This created a "paste" which he then worked with a brush. Once dry, this surface can be reworked with additional pastel. The resulting surface often looks more like oil than pastel and is especially good for the softness desired in portraiture. Although Degas' exact method is unknown, a small travel iron or travel steamer can be used for this technique. In areas where fine line detail is desired and where pastel is already in place, scraping the surface with the tip of a stencil knife often results in sharp, well defined lines.

Lighting in portraiture is very important. What would Rembrandt be without his famous lighting? Positioning the subject in strong, direct, eye-level light will offer sharp profile contrasts. Overhead lighting will give a somber and edgy look to the portrait. Full, all around lighting will offer more photo style lighting. Positioning the subject with emphasis on strong facial detail is one way to create drama in the finished portrait.

On the subject of fixatives, there are two distinct schools of thought. Most pastel artists do not like to spray the finished works with anything. They feel, rightly so, that this is an alteration of the work, and that it causes changes in the finish that are not intended. Alternatives include spraying before the work is totally finished, thereby holding in place the "foundation" work and allowing the finishing touches to float on the surface. Another suggestion is to cover the surface of the finished pastel with tissue or Kraft paper and gently press the powders onto the surface. Care should be exercised so that the textures are not lost, but this does give a viable option to true surface alteration.

Miscellaneous Tips:

--To prevent smudging while working on the portrait portion of a painting, consider cutting masking material to cover areas already worked or to keep the background clean. This is especially important when multiple portraits are included in the same work. Mask one area while working on another. Cut-paper masks are easy, inexpensive, and work well. Adhere with a removable tape to prevent damage upon removal.

--To clean dirty pastels, put them in a zip plastic bag of ground rice (available at Asian markets) and gently toss the bag for a few minutes. The result is super-clean pastels.

--When working in the field/traveling, pack extra sheets of paper to lie over your works to protect them during transit. For long-term storage, attach the pastel works to museum board with archival tape and then cover the works with tissue or tracing paper. Tape the covering over the pastel to prevent any smudging.

--Recipe for a clear, non-staining, permanent, hazard-free fixative: Dissolve one-half teaspoon plain gelatin powder in two pints of warm water. Cool to lukewarm and then apply immediately with brush,airbrush or sprayer.