Using Pastels to Create Soft Images Automatic translate

Pastel painting is a unique artistic technique that has remained one of the most effective means of creating soft, velvety and delicate images for centuries.

An analysis of the historical development and modern applications of pastel shows that this technique has exceptional capabilities for conveying subtle color transitions, atmospheric effects and delicate textures. The study reveals that pastel occupies an intermediate position between painting and graphics, combining the immediacy of drawing with the painterly possibilities of color transmission.

The main advantages of pastel for creating soft images are its ability to shade, multi-layer, and to preserve the brightness of pigments without the use of binders that can dull the color. Contemporary artists continue to develop traditional techniques, adapting them to new artistic tasks and materials.

Historical development of pastel technique

Origin and early development

The history of pastel painting dates back to the Renaissance, when artists began experimenting with colored chalk to create more expressive works. Pastel chalks, consisting of dry pigment bound with acacia resin (gum arabic), were invented in the late 15th century by the French artist Jean Perreal for quick sketches of the military campaign of Louis XI. The artist introduced the new technique to Leonardo da Vinci, who called the new technique colorire a secco (to color in a dry way) and used it in a study for the portrait of Isabella d’Este of Mantua (1499).

The word "pastel" comes from the Italian word pasta - dough or paste, which reflects the technology of making these artistic materials. At the beginning of the 16th century, pastel took a strong place in European artistic life. At that time, the French pencil portrait was very popular, executed from life with black chalk, sanguine and pastel in one or two sessions. The Italians called this combination of artistic materials a pastello.

Pastel emerged in northern Italy in the 16th century and was used by artists such as Jacopo Bassano and Federico Barocci. The German artist Hans Holbein the Younger and the French artists Jean and François Clouet created pastel portraits during the same period. These early experiments laid the foundation for later developments in the technique.

The Golden Age of Pastel in the 18th Century

The 18th century was the period of the greatest flourishing of pastel painting, when it achieved the status of a full-fledged artistic technique. The pastel technique reached its peak in the 18th century. In 1663, the pastel technique received official recognition and equal rights with painting, when Dumoustier was accepted into the Royal Academy of Painting and Sculpture as the first recognized pastel artist. In 1698, the French portraitist Joseph Vivien, a popularizer of the pastel technique, was accepted into the Academy.

Mass interest in pastel portraits throughout 18th century Europe was sparked by the visit of a Venetian pastel artist to Paris in 1720-21. The French Salon of 1704 featured twenty life-size pastel portraits by the artist Joseph Vivien, and the success of the exhibition contributed to the rapid growth in popularity of the technique.

Pastel portraits had been around for the previous century, but by 1700 the widespread availability of cast sheet glass made it possible to execute these powdered compositions, which always required surface protection, on a scale comparable to easel painting, thus increasing their prestige. Pastel’s ability to imitate, if not surpass, the effects of oil painting led contemporary viewers to regard these works as aesthetically comparable.

Many pastelists – such as Rosalba Carriera, Maurice Quentin de La Tour, Elisabeth Vigée le Brun, Francis Cotes and John Russell – were accepted into the academies of their countries or appointed as court pastelists, testifying to the high esteem in which this medium was held.

Development of pastels in Russia

Pastel appeared in Russia in the first half of the 18th century, brought by foreign artists. Throughout the 18th century, the creators of works in this technique were the masters of the so-called Rossika — foreign painters working in Russia. They almost exclusively created portraits to order. The pastel technique became widespread among Russian artists somewhat later.

Quick to make, often executed in one session, the pastel portrait became widespread, became one of the most beloved types of commissioned images, in some way fulfilling the function of photography. This technique became known in Russia in the mid-18th century, first through the works of foreign masters.

Composition and technical characteristics of pastels

The main components of pastel crayons

Pastels are colored chalks made from a finely ground mixture of pigment, chalk or a special type of clay, and a binder of acacia resin (gum arabic). The basic ingredients of pastels are pigment, filler (a white mineral that imparts opacity and volume), and binder (a weak glue) that loosely holds the two powdered substances together so that they can be formed into a crayon for use.

In the 18th century, the ideal chalk was hard enough to be held between the fingers without breaking, but powdery and soft enough to crumble when drawn across a surface. A relatively small range of pigments (mostly the same as those used for oil painting) were used to form the myriad colours that remain the hallmark of the modern pastel box.

These pigments were combined to produce the desired hue, with proportional amounts of filler added to produce tones. This multitude of hues allowed the pastel artists to work in gradations of tone rather than color mixtures to achieve the greatest brightness.

The process of making pastel crayons

The process of making pastels in the 18th century was complex. Many steps had to be done by hand and varied depending on the colour composition, starting with the preparation of the pigment by grinding and washing. Since pigments have characteristic properties (such as cohesion, softness, brittleness), each had to be coordinated with a specific filler (chosen from a range of materials such as chalk, pipe clay, gypsum and alabaster) and a suitable binder (among them gum tragacanth, oat whey or skim milk) to produce crayons of satisfactory texture.

After mixing the ingredients, the paste was divided and rolled into chalks, cut to length, and carefully dried in air or heat to avoid defects and cracks. Dry pastels historically used binders such as gum arabic and gum tragacanth. Methylcellulose was introduced as a binder in the 20th century.

Modern types of pastels

Pastel comes in three types: dry, oil and wax. Oil pastel is made from pigment with linseed oil by pressing. Dry pastel is made in a similar way, except that no oil is used. Wax pastel is made from high-quality wax and pigments.

There are two main types of dry pastels: hard and soft. Soft pastels consist mainly of pure pigment with a small amount of binder. They are suitable for broad, saturated strokes. Hard pastels are less likely to break because they contain a larger amount of binder and are great for drawing, since the side surface of the bar can be used for tone, and the end for fine lines and detailing.

Techniques for creating soft images with pastels

Basic techniques of shading and blending

Perhaps the most common technique for using pastels is blending. Blending occurs when pastels are applied in layers to a surface. The transitions between colors and values ​​are smoothed by smudging or rubbing the pastels into the surface. The result is smooth gradations of value and color on objects.

Blending can be done with a finger, a stump, a cotton swab, or a folded piece of paper. Other tools include finger gloves. For larger areas, using a finger to blend is preferable, but for smaller, more precise areas, a stump works best. Stumps can be purchased at a reasonable price at your local art supply store, but a folded piece of paper or paper towel can be substituted.

The technique of "dry" pastel widely uses the "shading" technique, which gives the effect of soft transitions and delicacy of color. The classic method using dry pastel is to try not to touch the drawing when working, so as not to smear the image. Pastel is easy to shade, which is an advantage at this stage of work.

Scambling technique for creating soft effects

Scambling is a pastel application technique in which light but opaque applications of pastel are layered over areas within the picture plane. These areas may already have received pastel application or may partially cover the wet surface of the paper.

When using scambling, optical color mixing usually occurs. Optical color mixing is when colors placed next to each other visually "mix", causing a new color to be perceived. For example, if yellow dots are placed next to or on top of blue dots, the color perceived by the viewer may be green.

As you might imagine, the physical texture – or grain – of the paper plays an important role in the effect achieved. Since scambling strokes are usually lightly applied, the texture of the paper will “catch” the material in areas where it is raised, leaving the color underneath in the recesses of the texture.

Multi-layer technique to achieve depth

One of the key aspects of creating soft images is understanding the principles of layering pastels. When learning the concept of layered painting, imagine developing layers from the roots up, like planting a garden. The surface determines the number of layers – around 4-5 with unsanded surfaces and 5-9 with sanded pastel papers.

The more layers you add, the more likely it is that the colors will become muddy, so you don’t want to overdo it. Typically you lay down the darker values ​​first, gradually getting lighter as you layer them, although this will depend on the subject matter. The final accent or focal point strokes need to be considered and planned in advance.

It is important to remember that the more layers of pastel on the paper, the thinner the strokes should be. When working with pastel, it is important to remember that the loose material is quite easy to correct, you can erase it with a dry brush or finger, or cover it with a new layer of the desired shade.

Materials and tools for soft pastel painting

Selecting the right paper and surfaces

Pastel drawing requires a textured surface that will hold the pigment. Pastel drawings are usually done on colored paper. The tone of the paper is selected based on the task of the drawing. White paper prevents one from assessing the saturation of the main colors, although in a number of works for certain tasks it is appropriate and also accessible to the artist.

Pastels are usually drawn on paper, which must have a slight texture or "tooth" to grip and hold the medium on its surface. Specialist pastel papers have been made since the 18th century in a wide range of textures, some like fine sandpaper, some with a flocked or suede finish, some with pronounced ribs or heavily marked dryer felts.

Pastel paper has a rich color palette. It is better to use paper that matches the main colors of the pastel. Suitable paper has the right density and texture for applying the material. You can use craft paper, cardboard and canvas. Watercolor paper with a pronounced texture is also suitable.

In the 18th century, artists invariably used blue or grey paper because of the slightly rough texture of such coloured sheets. This medium is opaque and does not rely on the underlying luminosity of the paper to give brightness.

Tools for creating soft effects

Pastel can be manipulated in a variety of ways. A painterly effect can be achieved by carefully spreading the powder with the finger or a blending stump (a soft instrument such as a thick roll of paper, leather or sponge), or with a brush.

The medium comes in a variety of forms, including loose powder pastels and pastel pencils, but most often pastels are applied directly with crayon. The broad side, when applied softly, creates areas of light tone that reveal the texture of the paper, while more defined, rich strokes can be achieved with the tip of the crayon and more pressure.

It is convenient to use a special paper shading, or using your fingers. The next stage is to deepen the shadows and light, emphasizing the texture of the objects. Strokes will help with this: dots, brushstrokes, layering one color on another.

Fixing and preserving pastel works

Because the pastel remains on the surface of the paper, it can be easily erased unless protected by glass or a fixative spray made from glue or gum arabic. Fixatives, however, have the disadvantage that they tend to alter the tone and smooth out the grain of pastel drawings.

After finishing the work, it is necessary to treat the drawing with a special fixative varnish. It will protect the work from crumbling and smudging and will allow you to preserve it in its original form for a long time. It is best to store pastel drawings in a frame under glass.

Finished soft pastel drawings require protection, either by framing them under glass or spraying them with fixative to prevent smudging, although fixatives can affect the color or texture of the drawing. Although possible, using hairspray as a fixative is not recommended.

Pastel painting masters and their contribution to the development of the technique

Great pastelists of the 18th century

Pastel reached its greatest popularity among artists in the 18th century, when it was used primarily for portraiture. Rosalba Carriera (Italian), Jean-Baptiste Chardin, François Boucher, Maurice-Quentin de La Tour, Jean-Baptiste Perronneau (all French), Jean-Étienne Liotard (Swiss), and Anton Raphael Mengs (German) were among the major pastel masters.

The first truly world-famous female pastellist was Rosalba Carriera (1673 – 1757) of Venice. She began as a painter of portrait miniatures, which were then considered an appropriate genre for women. Once she broke free, she became the “first female pastellist” as someone truly world-famous and defined by her pastels. Her large pastels were sold to princes and courts all over Europe, where they were hung in apparent competition next to the usual oil portraits.

Carriera brought new status to the genre, establishing pastel painting as worthy of equal standing with oil. Her self-portrait of circa 1746 is remarkable for its frank honesty, boldness and originality. At a time when artists were depicting women as idealized, submissive beauties designed to attract the appetites of power.

The Impressionists and the Pastel Revival

Pastel was largely revived and revitalized in the last third of the 19th century by French art. Claude Monet, one of the most famous and beloved artists in art history, had a surprisingly significant role as a draftsman. Monet had long been seen as an anti-drawer, an artist who drew his subjects directly and whose rarely seen graphic works were secondary to his artistic process.

In fact, Monet began his career as a caricaturist and developed a passion for drawing in his teens that never faded. He went on to master the technique of pastel and included seven works in the first Impressionist exhibition in 1874. Citing recently discovered, unpublished documents that challenge the accepted image of the artist, a vast group of graphic works produced throughout the artist’s career are revealed.

Edgar Degas was particularly famous for his pastels, often depicting ballerinas and other dancers. His works demonstrated how pastels could be used to create both subtle and dramatic effects. Odilon Redon also made significant contributions to the development of pastel techniques.

Contemporary interpretations and innovations

In the 20th century, pastel continued to develop, finding application not only in traditional genres but also in contemporary art. Cesare Tachi was a member of the Piazza del Popolo school. Experimental and innovative paintings of the mid-sixties of the 20th century were created using industrially produced fabrics. Large-scale textile collages, in addition to being painted with enamel, pastels and felt-tip pens, also acquired a relief texture thanks to furniture filler.

In these works we find images of the artist’s friends, his own self-portraits or images based on photographs. The pattern, texture of the fabric and the softness of the resulting relief, together with the conceptual nature of the creative technique, made a great impression on the viewer and gave rise to new associations.

Aesthetic and expressive possibilities of pastel

Unique qualities of pastel images

The optical brightness of pastel work is the result of both the absence of yellowing resins in its composition and the reflection of light from the countless facets of the finely ground powder. It is an opaque material that does not rely on the underlying brightness of the paper to impart brightness.

The main advantage of pastel is its rich shades and soft application to the canvas. Thanks to this, this painting technique allows you to achieve amazing depth and volume in your work. The velvety strokes of pastel create a special atmosphere in the painting, adding uniqueness and liveliness to it.

The most striking aesthetic qualities of pastel are its delicate velvety texture and matte finish. The captivating softness and vividness of the colors attracted the attention of more than one generation of artists (mostly portrait painters) in the 17th-18th centuries and the impressionists of the 19th century, who paid much attention to conveying the smallest nuances of air and light.

Psychological aspects of soft images

The history of the creation of the cycle "Pastels" by A. T. Grechaninov demonstrates how the pastel technique can convey deep emotional states. During a difficult, critical period, Grechaninov turned to composing music for children, in which he found consolation, but the piano pieces in the cycle turned out to be sad in a non-childish way and psychologically saturated with deeply "adult" feelings and experiences.

The novelty of Grechaninov’s musical language in the period under consideration was determined both by changes in Russian art in general (in particular, the influence of impressionism on the composer’s work was significant) and by crises in the personal and creative life of Alexander Tikhonovich.

Application in various artistic genres

Each artist will find their own use for pastel. It is suitable for creating both realistic and abstract works. Pastel allows you to convey emotions and mood, capture the beauty of the world, nature, or create bizarre and fantasy images.

The basis for working with pastels can be various surfaces, such as paper, cardboard, fabric and other materials. Each surface gives the work its own charm and effect. One of the interesting aspects of working with pastels is the ability to combine them with other materials. Thus, you can use pastels together with acrylic or oil paint to create a unique artistic image.

Modern trends and educational aspects

Methodical development of pastel technique

The process of reforming and modernizing higher education involves increasing the level of professionalism of future specialists and, in particular, artists-teachers. The motivation for the study is the need to create methodological and pedagogical conditions for the formation of the foundations of students’ artistic skills in the process of professional training.

The pastel technique, its methods and techniques are quite complex, so they require the development of a separate training course for mastering it. The acquisition of professional skills and knowledge by future artist-teachers in the learning process directly depends on their mastery of various artistic techniques.

Formation of professional artistic skills in the use of soft materials is possible only with the complex application of methods and techniques and the creation of pedagogical conditions for creative activity. The pastel technique is unique, and thanks to its technical capabilities, it is possible to solve creative problems of any level of complexity.

Integration of traditional and modern approaches

An analysis of the historical experience of the development of pastel technique in drawing and painting emphasizes the importance of teaching students this technique in classes on basic art disciplines. It can be argued that pastel technique is an important part of the educational process in institutions of higher art education.

The importance of studying it lies not only in diversifying the technical experience of students, but also in the integral formation of their artistic and creative skills. The problem of creating a well-founded system of teaching pastel technique to students of higher educational institutions requires further in-depth study.

Teaching students artistic techniques and their combination in drawing and painting gives impetus to the development of creative imagination and fantasy. The pastel technique occupies an intermediate position between painting and graphics. From a technological point of view, pastel is graphics, and in terms of its expressive capabilities, pastel can be classified as painting.

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The use of pastels to create soft images represents a rich and multifaceted artistic tradition that continues to evolve and adapt to contemporary artistic needs. Research shows that pastels have unique technical and aesthetic characteristics that make them particularly effective in conveying delicate textures, atmospheric effects and subtle emotional states.

The historical development of pastel technique from its origins in the Renaissance to modern interpretations demonstrates the constant evolution of methods and approaches to creating soft images. The 18th century became the golden age of pastel, when it achieved the status of a full-fledged artistic technique, capable of competing with oil painting in creating portraits and other genres.

The technical aspects of pastels, including the composition of the materials, the manufacturing processes and the different types (dry, oil, wax), provide artists with a wide range of possibilities for creating a variety of visual effects. Of particular importance are the techniques of shading, layering and optical mixing of colours, which allow for exceptional softness and depth of the image.

Current trends in education and artistic practice emphasize the importance of systematic study of pastel techniques as an integral part of art education. The integration of traditional methods with modern approaches and materials opens up new opportunities for creative expression and technical improvement.

An analysis of the works of outstanding pastel masters from Rosalba Carriera to contemporary artists shows how this technique can be adapted to various artistic styles and concepts, while maintaining its unique qualities of softness and expressiveness. Pastel remains a relevant and sought-after artistic medium, capable of solving a wide range of creative problems in contemporary art.