My Basic Method

We have looked at tools and materials.  Now let's see how we can use them to create a painting that makes use of the best of both mediums: watercolor and soft pastel

You might want to try this subject just to get started, but the procedure is much the same with any subject.

On watercolor or mixed media paper create some loose beautiful watercolor washes on a wet sheet applying the colors you wish to use.  They should be different than the color you will use for your subject to create surface interest and more color excitement.   Keep your final subject in mind but be free with your color.

 

 

  Note that I chose Aureolian Yellow and Permanent Rose for the underpainting knowing that my subject would be completed in shades of green.  Aureolian Yellow and Permanent Rose blend together on the wet paper to produce a beautiful scarlet.  The yellow gives warmth and the rose gives contrast.

When the watercolor washes are dry, indicate your main shapes with pencil. 

Note: I have used a dark pencil so you can see the drawn shapes in the photo.  Use a light pencil for your work; it is only to be a guide.

I have chosen to leave the sky area alone, so I will work on the band of ocean next.  Working from the top to the bottom helps to keep the work clean.  And remember we want to stay out of any areas of watercolor we want to remain clean and vibrant.  Choosing three values of color I apply them to the ocean shape, grading the color as I work towards the line of vegetation on the land.  Blend this area keeping out of the other areas (tree and shrub).  Use your favorite blending tool for tight spots.  

To keep a clean edge at the horizon, use an eraser shield as you

blend the colors into the paper.

 

Next is the line of vegetation.  Use three different values of muted greens and scumble the pastel stick so as to allow some of the underpainting and texture of the paper to remain. Soften some of it if you like. 

Note how the watercolor underpainting glows through the vegetation.

Next, tackle the tree shape.  Think: direction of growth.  Use minimal strokes.  Leave some of the underpainting showing through.

Again, use three different values, blending where foliage is dense. 

I think you can finish the rest with no more specific directions.  Just remember that your lightest areas are created by the watercolor and the pastel is used only to clarify the subject and act as a strong contrast to the watercolor. 

 

Surfaces to Use with Watercolor-Pastel

I have experimented with may different surfaces searching for the best support for both pastel and watercolor.

 

Rag watercolor paper offers the most transparent, glowing washes but is somewhat fragile for pastel work when much reworking or blending is needed. 

Watercolor paper with tooth can produce too much overall texture  when pastel is applied.  This is especially disturbing when the paper in question has a mechanical texture. 

Note the mechanical texture on the red mountain.

 Close-up of texture

Some of the smooth watercolor paper (hot press) does not always offer enough tooth to hold the pastel.

It was difficult to get enough color into the sky area

on the smooth surfaced paper. 

Close-up of pastel applied to sky.

The two papers that have given me the most success are:

Strathmore Mixed Media paper (easily found and inexpensive):  This paper does not offer the brilliance achieved with rag watercolor paper but it is very sturdy and can survive much reworking.  It also does not have a lot of "tooth" but is sufficient for several applications of pastel.  A good choice if you are exploring a subject .

  Note the several applications of pastel on background trees.

Close-up of trees behind houses.

Arches Hot Press (archival quality):  Produces beautiful washes and will support pastel application if not overworked.  Plan ahead for those areas where you want to retain the transparent watercolor washes.  Then stay out of them.  You will never regain the transparent quality once you have introduced pastel into an area.  Fixing a lost "white" with a very light value pastel never results in the same effect as to leave the watercolor standing by itself. 

Note the brilliance of the golden sand (undisturbed watercolor wash)

contrasted with the solid vegetation (pastel).

Close-up of sand (watercolor wash).

Some Tools to Use with Pastels

As I began to work with pastels I soon became aware of some challenges I had not met when working with watercolor.

For one, pastels are messy!  Dust collects and smudges occur.  How to cope.  I found it helpful to have several terry-cloth rags and replacing them frequently; used as a bed for the pastel sticks I am currently using and for cleaning up pastel dust.  Also a small portable vacuum has been helpful and wet-mopping my linoleum floor is a necessity.

When working on the pastel drawing I try to begin at the top working downward to avoid smearing the pastel.  I also often will cover the lower half of my painting with a sheet of layout paper. 

Pastels can be reworked.  Some of my favorite tools for blending and reworking:

• Kneaded erasers both for removing and blending. 
• A bristle brush for blending.  The long handle keeps my hand away from the paper surface and I can see where I am working.
• The old fashioned pastel paper wipes are great for blending.  Did you know you can sharpen them?  More about sharpening later.
• There are some tools used in clay work with different sized tips that can be used to move pasted and control the edges.  Also there is a tool called a Colour Shaper that is used to move paint around and can be used to move pastel,  Visit your local art store and browse the items; use your imagination.  It is fun to try different possibilities.

• My most frequently used tools for blending are my fingertips.  Best control as to direction and pressure.

Pastels come in several different sizes and hardness.  Have a variety within your reach to meet your need.  Pastel pencils are great for detail.  Try to keep from dropping them on the floor; the soft pastel encased in the wood breaks easily. 

And how to keep them sharp?  I have tried lots of sharpeners, hand and electric, knives and razor blades and am happiest with a small belt-sander.  It is quick and gives a great point to your pencil or paper blending tool.

 

There are some fine sources of information covering pastel materials, tools and techniques.  Visit Deborah Secor at:    http://landscapesinpastel.blogspot.com/  

Working with Pastels

Since my goal is to combine watercolor and pastel in a harmonious relationship, each contributing its strongest attributes let's take a minute to reflect on what makes relationship work.

For a marriage to be successful the partners need to know each other well.  So is it when uniting watercolor and pastel.  Actually it is you the artist who needs to be well acquainted with the participants (the tools you will use).  To be successful you must be proficient in both mediums.  For a marriage to be successful it takes application and practice.  So you need to be patient and persevere as you explore and practice.

Having successfully pursued watercolor for 22 years as a professional artist and teacher I feel confident with watercolor techniques.  But soft pastels are a new medium for me.  It has taken many hours of exploration with various materials and just good old fashion practice to become secure with pastel.  The purpose of this blog is to share with you the techniques and insights I have gained. Perhaps you will want to give this marriage between watercolor and pastel a try.  

To become acquainted with pastels I have done some flower studies on different surfaces.

 

Pastel on Drawing Paper

 Pastel on Dark Paper  

 Using the Color of the Paper to Develop the Subject

 Pastel on Sandpaper

The pastel really bites into the surface.

I also spent some time working out a system of organizing my pastel sticks.  The one illustrated here (see photo below) seems to work best for me.

 

I select the colors and values I want to use from my compartmental trays and lay them out on a terry-cloth towel.  This helps me stay focused on the colors initially chosen and keeps me from introducing too many colors or discordant color.

 

My next step was to explore tools that would help me in the execution of pastels.

Watercolor and Pastel Working Together.

I have enjoyed working with watercolor for some time now.  Once exposed to watercolor I fell in love with its freshness and transparency.  These are the qualities that set this medium apart from all others.  I have explored, practiced, exhibited, sold and taught watercolor for 22 years.  (see Biography)  Now I am retired from the business-end of art but I cannot retire from my art; the desire to create and explore.   

Watercolor can stand alone beautifully.  Its clean vibrant colors sing across the paper.  There is no white in the paint box as white as white paper.  Watercolor being transparent allows the brilliance of the paper to glow through.  The watercolor becomes light.  This is the quality of watercolor I am enlisting as I work the two mediums side by side.  (watercolor and soft pastel)

I am drawn to work with soft pastel sticks because of the tactile sensation they offer as I work the chalk over the paper.  I enjoy the rhythmic sensation encountered when I apply the soft pastel.  Each stroke represents direction and energy conveying a visual communication.  And I love to draw.

Soft pastels are opaque;  just the opposite of what we experience with watercolor.  By laying the soft pastel down next to a watercolor area the intensity of light is enhanced.  It is all about contrast which we know is a basic principle of composition.   (see Composition)

Soft pastels are also rich in color adding strength to the painting.  Depending on the ground chosen the application of soft pastel adds various texture to the painting.  It is not always easy to find the correct hue and value in your pastel box but this can be worked out.  More about this later where I discuss pastel techniques.

Inspiration came to me when I asked myself the question:  Can soft pastel and watercolor work together on a common ground (paper) to take advantage of their unique characteristics?  The answer is:  YES
 

I am keeping of journal of my journey as I work these two mediums side by side.  Follow along as I share my discoveries, victories and frustrations in an attempt to marry watercolor with soft pastel.