Patrick Cullen
On the occasions I run a workshop I usually do a demonstration to supplement verbal advice and suggestions, as many things are better conveyed practically than with words. On this occasion I was working in pastel. Pastels can be employed in many ways but broadly speaking the results fall into two main categories. Traditionally, pastel drawings have been produced on paper grounds not dissimilar to papers used for charcoal, pencil, watercolour and gouache but generally with a mid-tone, often a warmish grey or ochre. The pastel is applied lightly and does not entirely fill in the grain of the paper, giving the resulting work a pleasing airy feel. Liveliness and freshness is achieved by allowing the pastel ‘to breathe’. In recent times papers have been developed with a much fiercer tooth, rather like fine sandpaper. On such supports the pastel quickly builds up to cover the ground almost entirely, giving the appearance of an oil or acrylic painting. In this context, the expression ‘pastel painting’ seems entirely appropriate.