From Plein Air to Studio: Your Guilt-Free Guide
The reference photo for this demonstration
Jeanne’s Materials List
- Uart 320 grit paper mounted on foam board*
- 70% isopropyl alcohol
- 1” flat watercolor brush for underpainting
- Fan brush (thin/delicate is best) for blending, removing
- Smaller assorted brushes for brushing off pastel, creating foam holes
- Color shapers for blending &
edge work (rubber tipped tools)
Here is a list of Jeanne’s favorite pastel brands, which will be used during her demo
- In my Hard box – underpainting (also glazing/blending) Rembrandt
- Richeson semi-hard
- Terry Ludwig (my go-to faves)
- Diane Townsend (juicy texture, great grip, fab blues & greens)
- Girault (my first full set,
luxurious, beautiful, versatile)
- Henri Roché ($$$, amazing to work with)
- Richeson Handrolled (fantastic value, great quality)
- Mount Vision (large, great blues, excellent
I drymount my paper using a second-hand drymount press I purchased 10 years ago. If you have one, I recommend trying Mount-Cor, an acid-free foam board with a low-heat adhesive which makes mounting
even PastelMat possible.
When not using the press, I mount individual boards with a roll of 3M Positionable Mounting Adhesive (google it for best price). Using the included brayer, it’s simple to cut your board, paper, and adhesive to equal size, affix the adhesive sheet to the board using the brayer, peel off
the protective sheet, position your paper, and use the brayer again to adhere to board.
Fixative: I use Fixatif Lascaux. This is a very fine mist fixative. Spray in light layers.
Darkening occurs when pastel crystals become saturated or wet. This fixative is fine enough to land without saturating. Spray outdoors, holding work vertically, from a distance of 12”-18”.