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I was reading through some of my old PJ issues and found an interesting article in Issue 16 regarding using varnish to seal pastel paintings and eliminating the use of glass.
Has anyone used this method – and what was your outcome? Successful or disaster?
I don’t know about any of you, but I am mighty tired to having to put my paintings behind glass and willing to try just about anything to get around it. I am sure the galleries would love it too.
So let’s hear about your experiences.
I found a web site for Sandi Dahl – I only saw one painting wherein she indicated it was sealed with varnish (new paintings, p.2)
http://www.sandidahlpaintings.com/index.htm
I’ve yet to find a site for Susan Fryer Voight.
After reading about varnish on one of the threads on WC a while back I bought the Krylon varnish and tried it. I used it on practice portrait of my hubby. It set the pastel but it also REALLY darkened it a lot.
I’d love to see what you mean. You don’t have any “before” and “after” photos, do you? I’d sure love the idea of fixing pictures too. I had one sitting on my easel, and I stumbled against it and lost the whole top quarter of the painting! I managed to basically restore it, but have never liked the result as much as the original.
Debbie C.
An Art Journey - my art blog
After reading about varnish on one of the threads on WC a while back I bought the Krylon varnish and tried it. I used it on practice portrait of my hubby. It set the pastel but it also REALLY darkened it a lot.
That’s my experience.
binkie
Hi Binkie – that’s what I’d heard – that if you use this method, you almost have to compensate for it while painting.
Would love to see a before and after.
I promise not to laugh. I’m curous about how this works also.
Sorry, I tossed the painting of my hubby as I noted when I edited my reply. I still have several unsuccessful paintings (putting it mildly) that I’ll spray and post, that is, if everyone promises not to laugh.
binkie
Josie
www.3clothingco.comHi,
Once I posted on a thread a link for a pastel artist who uses acrylic gel.
But I don’t know how this will affect the apearance.
If I’m not mistaken he sent me an email.
Let me see if I have it…
Kind regards,José
I'm not lazy because I sleep until late. I just dream alot.
Hi again,
Ok, I found it.
His name is Fred Parker.
And he sent me this :«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’s his site :
Kind regards,
José
I'm not lazy because I sleep until late. I just dream alot.
I haven’t tried this but I can’t imagine that one can brush on top of pastel without smearing it, resulting in alot of foul language (from me, for sure!) :envy:
I think the learning experience is greatly worthwhile in order to further personal understanding of one’s medium so I will experiment with this.
The only surface additive I’ve ever used (once) was fixative and I hated the toxic stuff, not so much for its definite alteration of my painting surface and coloration but because I felt like I was polluting the air and possibly my own lungs (even tho’ I was outside in the breeze) for no good reason. The surface darkened and took my joy out of the whole end result. But….live and learn what’s right for you.
Cindy
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