Pastels are a dry medium, with a surface which is powdery, which seems to reflect the light easily. They also emit very intense colouring, more really than any other medium. To put it in a nutshell, pastels are a colourful way of painting, but they also have great strength.

Pastels are a dry medium, with a surface which is powdery, which seems to reflect the light easily. They also emit very intense colouring, more really than any other medium. To put it in a nutshell, pastels are a colourful way of painting, but they also have great strength.

I think these are great as there is no hanging about and time wasted waiting for the paint and paper to dry before you can continue. This is only because it is a dry medium. You could say, if you like, this sets you free straight away to get to work.

These pastels will last for years as there is no oil or varnish in the manufacture and they are unlikely to crack or go yellow.

To demonstrate how you can use these to capture vibrant works that porrtray movement, both of colour and the light, you only need to head to your local library and look up Degas. His pictures include movement of grass that ripples, racehorses and dancers to name, but a few.

It is an interesting fact that pastels from the 18th Century are in such good condition today. Retaining their freshness and vibrant colours. If you want to frame them, the pastel must not touch the glass, so you need a passe partout mat to place it on.

It may, or may not, be widely known, that the same pigments are used in watercolours, pastels and oils. They are just mixed in other ways in manufacture. Take watercolours, they are a mix of pigment and gum. Oil is mixed with pigment for oils. Lastly, pastels are mixed with water and chalk together, with the pigment resulting in a fine paste.

When pastels are made, and a colour check has been made at this stage, it is possible that the pigment may be supplemented. The paste needs the air removed fom it, so it has to be pummelled well. From that point onwards it can then be shaped into round long strips, before cutting it into the long strips that form the pastels.

They then need to go through the drying process, before they can be labelled and packed into boxes, with care, before they get damaged.

The strength of the pastel lies in how much of the binding agent has been applied to the actual mix. This will affect the type of markings the pastel will make. Some companies in the past did not bother to use a binding agent when they produced pastels. Rowneys, for one example, and I have to say that these lasted well and had a softness about them.

Pastel colouring depends on how much chalk is put with the pastel. So, a dark tint will emerge from little chalk with the pastel, whereas pale tints come from more chalk being added. This will decide the finished strength and there will be a variety of colours with every tint.

These come grade from light to dark colour tints. I can only suggest that you study some of the Degas paintings. Anyone could only get inspired by these and the fantastic details incorporated to this very day.

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