Carol Corliss Fine Art
ABOUT PASTELS
Pastel is a powdered pigment, formed into round or square sticks and held together with a binder.
Pastels are created from the same pigments used in oil and watercolor paints but use a different binder.
Soft pastels and oil pastels are different mediums.
Pastels can be traced back to the Sixteenth Century. Well preserved pastel paintings from over 200 years
ago are still as vibrant today as the day they were painted. By using a conservation ground (the paper
or board that it is painted on) and when properly framed under glass, pastel is the most permanent of all
media, as it never cracks, fades, darkens or yellows . There should always be a space between the pastel
painting and glass to prevent contact and the possibility of condensation staining the work. Acrylic sheeting
should be avoided because it's static charge can pull pastel particles away from the painting surface on to the acrylic.
Pastel paintings should not be hung in areas of high humidity or extreme heat. If at all possible, do not hang
pastels on an uninsulated exterior wall as humidity and temperature changes can cause problems. Do not
hang pastel paintings in direct sunlight or under fluorescent lighting (strong ultraviolet light) as any large
exposed areas of non-light-fast paper are vulnerable to fading over time. Direct sunlight on the painting
may also cause condensation to form.
The papers and board I use are light-fast and, at minimum, acid free, but often 100% rag. I also use acid free
foam board and acid free mat or rag mat.
When cleaning the glass, use a damp cloth with a light touch. Do not spray the glass because moisture can
run below the frame edge and damage the painting.
With a little care, your painting will be enjoyed for generations to come.
A WORD ON PASTEL DUST
One reason pastel paintings are so beautiful is because of the way the pastel particles refract light.
Many artists do not use a fixative as it usually changes the colors as well as the refractive quality.
In the process of moving or transporting pastel paintings
small amounts of pastel particles, or dust, may become dislodged.
This in no way affects the quality of the painting.
"Everyone discusses my art and pretends to understand, as if it were necessary to understand, when it is simply necessary to love."
Claude Monet
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Carol Corliss is the sole copyright owner of all art presented on this web site.
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GLASS, MATS & FRAMING
Pastel paintings must be framed under glass. It is best to keep them out of direct sunlight.
Plexiglass- plexi is not preferred as it can have a static charge and can pull pastel away from the painting. They do make anti-static plexi but it is very expensive. It might be a consideration for a very large paintings (5' x 7') due to the weight of glass. Weight should not be an issue for smaller paintings say 36"x36" etc.
GLASS - there are a lot of glass choices. Your framer should have samples for you to look at. Tru-Vu is a manufacturer of art glass. Museum glass is the best and also the most expensive. It is anti-reflective and has 99% UV protection. It is not necessary to go this expensive unless you really want to. One framer told me "museum glass is meant for paintings in a museum". The average household does not need this. UV70 (made by Tru-Vu) is also a good glass. That being said, you want to protect your artwork. I have gone to using mostly museum type glass on most pieces with the exception of very small pieces.
When selecting glass for your pastel, you should consider the environment it will hang in and purchase the best grade your budget allows. A conservation grade glass is recommended over a non-conservation grade glass. Conservation grades of glass will provide more protection than non-conservation grades against harmful UV rays, although no glass is capable of completely preventing damage. Anti-reflection conservation grade glass is more expensive than regular conservation grade glass, but is recommended to reduce reflection and improve clarity.
Beware of some of the "reflection control" or "non-glare" glass. It has a frosty look and will dull, or lessen the clarity, of your paintings.
Different Glass Grades - Below is a description of the different grades of glass listed from least to most expensive in each category:
Non-conservation Grades
Regular - Blocks 45% of harmful UV rays
Ultra Vue - Anti-reflective, water white color, blocks 70% of harmful UV rays
AR Reflection-Free - Anti-reflective, blocks 78% of harmful UV rays
Conservation Grades
Conservation Clear - Blocks 99% of harmful UV rays
Conservation Reflection Control - Anti-glare, blocks 99% of harmful UV rays
Museum - Anti-reflective and blocks 99% of harmful UV rays
Optium - Non static, anti-scratch, anti-reflective plexiglass, blocks 99% of harmful UV rays*
*No other type of plexiglass should be used due to the large static charge in regular and UVplexiglass, unless at least a 1/2" spacer is used between the art and the glazing.
Michaels carries glass also made by Tru-Vu but under another name. Their Museum quality glass is called Masterpiece and goes down from there.
CHOOSING A MAT - Matting- mats are a personal preference. The main reason to use a mat is to keep the pastel painting away from the glass. Using a single, or double mat is also personal preference. I personally think a double mat looks nicer. Using mats will also make the overall framed size larger, which you may want because of a particular space it is going to hang. The larger the mat, frame & glass, the more expensive.
Mat color - try to choose a color that enhances the painting. Many people try to match it to their room or furniture. While this also may be personal preference, the painting will look better if you choose a mat color for it & not the room. Try to go with a neutral mat color. If you choose a double mat, the inner mat color could be a color chosen from within the painting.
Instead of a mat, you can have the framer use spacers to keep the painting away from the glass. This is a very acceptable way to frame a pastel if you don't want the look or cost of adding mats. It also gives the appearance of more of an oil painting because it does not have a mat.
Framing - The primary purpose of framing a painting is to put the focus on art work. For works on paper, framing is especially important to provide structure for the protection and preservation of the piece as well as to enhance its appearance.
Frames are also very personal. A painting's style should suggest the frame style. If your décor is contemporary you probably don't want to go with lots of gold filigree etc. Go for what looks best with the painting while lightly keeping the room in mind. Choose a frame finish that doesn't compete with the art in color or texture. For example, don't choose a fussy frame with a mottled finish to go with a busy image. Each work of art is its own universe. When the frame is selected to be of the greatest benefit to the art, the framed piece can be hung anywhere. Don't fall into the trap of choosing a frame to match others you already have; some of the most stunning groupings of paintings feature pieces in a wide variety of frame styles, sizes and finishes.
Larger paintings usually look best with wider moldings. A frame and its mat should never be the same width. There are no rules stating which should be wider-although it's often the frame.
Sneak Peek
"Let the beauty of what you love be what you do."
::: Rumi
ABOUT PASTELS