BareBonesFinal

Bare Bones – Pastel on an acrylic underpainting – 20″w x 24″h

As I wanted to frame the finished work with ArtGlass and no mat, I started this piece by mounting pastel paper, Clairfontaine PastelMat, to an acid free foam board for stability.

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I then painted a very loose underpainting with liquid acrylic. Colours were chosen with the finished piece in mind, working off a photo I took north of Kingston, ON in the Rideau.

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I leave the painting overnight to dry, but on examination the next day, I decided to darken some areas of the underpainting for more impact. The foreground water area and the mid-ground greens were increased in value. Once the second layering of acrylic underpainting was dry, I sprayed the entire surface of the underpainting with a thin application of Pastel Fixative. I use Spectra Fix, by Degas, as it’s totally non-toxic, which makes it great for studio use. The fixative drys within minutes.

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The photo above shows the first stages of pastel application. Greens and Blues were layered behind the tree trunks, and the beginning of the shoreline was established.

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I wanted to show the “Artist’s Hand” with bold marks, so began the layering on of colour. Once the background was fairly established I then worked on the tree trunks, keeping in mind the direction of the light source.

BareBonesPalette

Pastel palette for Bare Bones above. I put any pastels I use while working on a painting in an old tin lid to keep the palette separate. This makes it much easier to find colours I have used in the work. This painting was done using mostly Terry Ludwig pastels. I also used Unison Darks, and a couple of Great American.

Below are some detail photos from Bare Bones to show pastel marks and colours used up close.

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Bare Bones – pastel/acrylic on Clairfontaine PastelMat – 20″w x 24″h – by Sharon Fox Cranston, SCA, MPAC, PSA – available at Cranston Gallery on Main, Bloomfield, ON