STEVE’S TIPS FOR WORKING WITH PASTELS

l Be prepared

Allow yourself plenty of space. In the photo (below left) you can see that my materials are laid out on the work surface so that everything is easily to hand. The pastels are contained in a specially constructed box and all the ancillary materials are within easy reach, including an ample supply of tissue to keep things clean. I am righthanded, so notice the position of the actual working board, complete with a plastic sheet below to protect the floor covering.

l Marry in haste, repent at leisure Be wary of being seduced by the ‘pretty scene’. Many pictures are doomed from the start because the artist has not considered carefully enough their relationship with the scene before them. They have rushed into trying to capture all the beauty on offer only to find that, on completion, they have produced a disjointed and overworked painting. What is important is good design and balance; take time to look for the best viewpoints and focus on one particular aspect of a building, perhaps a street corner, sunlight on a gable or other play of light that produces a good design. Remember, a picture is just an excuse to paint an exciting pattern of light and dark.

l Stand back from your work

It is important to stand back from your work and view it at regular intervals. It is amazing how work that looks correct when viewed close up, is full of errors when viewed from a distance. I usually stand back at least two metres, although I sometimes forget.

l Choice of framing is important

I have seen many pictures that, although well painted, are ruined by lack of careful consideration when selecting appropriate framing. I frame my larger pastels as described on page 33. The process also includes a third mount that is smaller and hidden behind the visible main mounts. This creates a small gap behind the main mounts and catches any pastel dust that might fall from the picture’s surface. For smaller pastel paintings I use a similar process but with a white frame – black would be too overpowering for pictures this size.

q Wet Day in the City, pastel on UART black sanded paper 400 grade, 18324in (45.536cm). In this street scene featuring buildings, people and traffic I have tried to create the atmosphere of a wet afternoon in autumn. There is little attempt at detail, with people, cars and buildings being suggested by a few strokes of the pastel. Everything is hinted at and the viewer is left to do the rest

p Wet Day, High Street, Bath, pastel on UART black sanded paper 400 grade, 18324in (45.536cm). Here I have gone for a chunkier approach with strong blocks of colour

u Framlingham Castle, pastel, 12318in (30.5345.5cm). The aim of this picture was to capture the light on the castle as the sun broke through the clouds after a passing rain storm