Hi Chris,

First let me ask you, what brand of velour paper do you use ?
I use Hanehmuhle’s 260grs and the pastel holds well to it; of course that I don’t apply the same number of layers that I apply on a sanded paper.
Yes I do apply a bit of fixative (not to really fix but to avoid a more eminent dislodge of the most superficial dust). Then I usually retouch some highlights.
I apply the fixative very thinly and at a more than sugested distance.
And I usually apply more than one coat (2 or 3) and will wait a considerable amount of time between them. It barelly changes the colour because of the very thin application (like a mist).
And I use Talens Pastel Fixative.

Kind regards,

José

Hi again,

If I tap the board (it’s a thin wood board) where I fix the work, the pastel doesn’t fall. Of course that when I say doesn’t fall I mean an amount that will modify the works aspect. And I also don’t tap it like I’m beating the hell out it
Yes, there will always dust on my fingers if I touch the painting, even after the fixative. But then again there are more amusing things to touch with one’s fingers Don’t touch it !
One could apply lots of fixative – inclusively there are people who apply an acrylic gel – however that will as far as I’m aware, reduce the brilliancy of the work.
I would like to remind you though that you should always research for new things and what’s true nowadays, may not be tomorow. So, there may exist or exist in the future some fixative that will perform as you wish.
One thing I can tell you, I’ve sent framed works abroad and they got there just fine.
Hope I was somewhat useful.

Anyway, you may read this email that I got sometime ago from Fred Parker :

«Dear José: Thank you for asking. I have experimented with various methods… some failed… But, eventually I figured it out. I use soft pastels. I use 100% rag acid free paper. About 150 lb, hot pressed. Knowing I will eventually use liquid acrylic to coat the pastel image (which would otherwise warp the paper once wetted), I first build a wooden panel (usually a door-skin with 1″x2″ boards at the rear outer edges). I seal the panel with an oil base primer so the wood will not contaminate the back of the paper. I then saturate the paper with water (like a watercolorist might do) and while still damp, gently stretch it over the panel (staples at the edges like an oil painter would stretch canvas). Once the paper is dry, it is tight like a drum. The paper is then ready for the pastel image. Once I have finished the pastel, I then use a small brush and apply a clear acrylic (“varnish” or “medium”) right on top of the pastel. I use a small brush and keep to one color at a time to minimize smearing. If smears occur, I try to use them as part of the image or wipe them off before the acrylic has a chance to dry. After I have given most of the image a single coat with the small brush, I then use a larger brush and really coat the entire image. There is a considerable difference in the look of the pastel once it is wetted (not unlike what would occur if you used a spray fixative). If you are a “pastel purist” you would probably not like the changes. In my case, I consider the change to be acceptable. Especially since there is no longer any need for glass to protect the image. Because I had stretched the paper while it was wet, the application of the acrylic moisture has no effect on the paper. I leave the paper attached to the panel, but it can be removed if necessary. Usually, I just frame the whole thing as it is. As you can see with several works on my web site, I often create (in pastel) a trompe ‘loeil mat around the image area. With the panel behind and the acrylic in front, there is little that can damage the art once it is framed.
I have often used acrylic inks, pencil and watercolor (after I have mounted the paper) before I start using the pastels. Taking advantage of the characteristics of each medium… details with the pen or pencil… softness with the watercolor… and color and texture with the pastels. A multi-layered cake. You just have to do the layers in correct order.
Hope that answers your questions. Let me know if I can be of further help…..»

And here are some works from him :

http://www.parkerfineart.com/Galleries/pastels.html

Kind regards,

José

Hi Carol,

As you may read on my second answer I’ve shipped abroad famed works on velour and they got there just fine. Even using Sennelier and Schmincke for last touches.

Kind regards,

José

Chris

I liked working on it also.

Think I might do a portrait and post it to myself so that I can see how it looks :wink2:

Carol

Chris, I did a sample where I put a thick layer of a very soft Sennelier on the paper then sprayed it with two light coats of finish varnish–the type of spray varnish used on oil paintings. That pastel did NOT move, even if I rubbed hard! However, the varnish darkened the color a couple of values, and it is my understanding that using varnish is not recommended because any future darkening of the varnish could not be cleaned without ruining the painting.

Miss Abby, I have framed several pieces of my work, including two on velour, directly under glass. No problems yet, but it’s only been a couple of years that I’ve worked in pastel. Isn’t that method called passe-partout? Google for info on how to. I find it much easier than dealing with a mat, which always seems to get pastel dust on it.

I also do what Jackie has recommended – burnish the painting when done on velour. People have had various success with velour. Many folks mention (as Jackie has) that the pastel can come off or move substantially. This is because the pastel particles often remain on top of the velour threads and never penetrate into the surface. Personally, I have used velour many times and find that these types of problems happen most with any type of softer pastel. When using medium hard pastels (such as Rembrandt), I did not have this type of pastel fall-off. But burnishing is definitely recommended in all cases.

As for fixative – I believe there have been threads on the forum that recommend not using fixative with velour. I can’t remember exactly why, but I know that I had problems in a couple cases where the fixative did not “spread and cover” but left spots all over the painting. I would definitely test using fixative on a scrap piece of velour before using fixative on your final painting.

I believe framing right up to the glass is popular in drier climates, but the theory is that in more humid climates, this is a riskier proposition. Hopefully those with more knowledge and experience on that subject will chime in.

Don