Frequently Asked Questions
"Impressions of Nature"

"I feel in every part of each second that Nature is almost too beautiful-all of it, every millionth part of it, light and color and shapes...Each little or big blade of grass in front of me, and there are millions, has its shape and composition."
               John La Farge (1835-1910)

     When I am at Art Shows or simply when someone discovers that I am an artist, many times people ask me questions about my work, the medium(s) I use, how long I have been painting, and so forth. Even other artists at times ask how they can find out about art shows or what art materials I use. So, I decided to put a FAQ (frequently asked questions) on my web site. You may e-mail with other art-related questions. If you do not find your answer here, I will try to answer that question or find the answer for you.

1. HOW LONG HAVE YOU BEEN PAINTING?
    This question seems to be the most asked question. Ever since I can remember. Quite honestly when I was about 3 or 4 years of age, I remember sitting on the sofa with my mother and she was showing me how to draw a profile of a face. After that, she says, I added drawings (scribbles) to my baby books and any paper I could find. Drawing and painting became an absolute love for me. I usually carried a sketchbook with me wherever I went, even at an early age.

2. HOW LONG DOES IT TAKE YOU TO DO A PAINTING?
    Well, it has taken me a lifetime. Maybe not exactly the answer you are looking for. It depends upon the medium I choose to work with. Pastels (which is my preferred medium) can be a quick and spontaneous medium, and I do not have to wait for colours to dry, as I do with oils. It does depend upon the subject matter and the size. I also will take a break from the painting for awhile during the day so I can re-evaluate my progress on it and if need be rework an area...and I always reflect it in a mirror because by doing that, it will look fresh and different to me. Sometimes a small painting can take as long as a larger piece. Although a larger piece can usually take me anywhere from a few days to a week (unless it is plein-air) considering preliminary drawings and tonal studies. A smaller painting or sketch done outdoors can help in working on a larger piece in the studio.

3. HOW DO YOU BEGIN A PASTEL?
    I can only say how I start one of my own pastel paintings. Each artist has their own technique and style. Working at an upright, slightly tilted forward easel, I usually use Wallis toned paper. The initial drawing is done with vine charcoal because it does not mix into the added pastels. Then the drawing or subject matter is blocked in first with the darker tones using broad side strokes and sketching in lines perhaps where I might want some trees. I use hard pastels such as Nupastels and Rembrandts in the beginning and switch to softer pastels. Then the colour is gradually built up and added by layering and working all areas of the subject. I add details last. I may use short, dabbing strokes which create textural effects as I work on the piece and use circular motion to mix the colours together or blending to create a more smooth look if desired. I also may do some cross-hatching which can be done with different colours. I pat the back of the paper from time to time during the painting process to get rid of the excess pastel. When the painting is completed and before framing, I give the paper a really good patting on the back and shake it free of the excess pastel dust. I do not use fixative.

4. ARE PASTELS PERMANENT?
    They are known to be the most permanent of artists mediums if done on archival papers, properly framed and protected under glass. (See Facts About Pastels page)

5. WHAT DOES ARCHIVAL MEAN?
    Free of acid. All art work that is intended to last should be created using archival materials.

6. WHAT TYPE OF PAPER DO YOU USE?
    I usually use Wallis paper which was created by pastel artist Kitty Wallis. It has a granular surface which grips the pastel. This paper can handle many layers of pastels. It comes in two different colours. It accepts any type medium, it is archival, water resistant, and re-workable. When I work in watercolours, I use acid-free Fabriano cold press paper or 300 lb. weight arches cold press paper and Winsor and Newton Professional Watercolours. I also use Winsor and Newton oil paints and Grumbacher Oil paints.

7. WHAT PASTELS DO YOU USE?     
    Many people ask me if I use oil pastels. No. I use hard and soft dry pastels. The harder ones I use are Nupastel and Rembrandt which I normally apply first. The softer pastels I use are Sennelier, Unison, Diane Townsend and Terry Ludwig.

8. IS YOUR MATTING ACID FREE?
    Yes, all my matting is 100% acid free rag mat. I also like to use a fillet that keeps the pastels away from the glass. If a fillet is not used, I use a spacer so that the pastel does not touch the glass. I use archival backing board to attach the pastel painting (or watercolour) before matting and framing, and then place paper on the back as a protective dust cover.

9. DO I NEED TO USE A FIXATIVE ON MY PASTELS?
    Using a fixative - some do and some do not. There is much controversy about this question. If you do use a fixative, be sure to wear a mask and spray in a well-ventilated area or outdoors. Spray the painting evenly back and forth and do it lightly and quickly so it does not darken the colours. Allow the piece to dry between sprays. Keep the painting in a vertical position while spraying. Do not lay out flat while spraying. If you saturate the pastel layer it will darken. This is a technique used by many artists when they want to obtain darker colours. The fixative can help build more layers of colours. You can also spray fixative on the back side of the paper if using light or medium weight paper.

10. DO I NEED TO WEAR GLOVES OR DUST MASK WHEN WORKING WITH PASTEL?
     Yes, I do. I also have a Hepa filter running in my studio which I consider a must in any art studio. Actually, I have three filters in my studio. (perhaps a bit over-cautious) Last year I purchased the "Artist's Air" cleaning system which is connected to your easel and helps filter out dusts and solvents.

11. HOW DO I PROTECT MY ARTWORKS?
     Many people ask if they can hang their paintings in the bathroom. In answer to that question, do not store or hang artwork in areas of high humidity such as bathrooms, basements or other high humidity areas. You also should not hang or leave your artwork in an area of high direct sunlight or powerful artificial lighting. This means all artwork.

12. DO YOU PAINT EVERYDAY?
     This question is often asked of me. Yes, I try to do so. There is something inside me that seems to beckon me to do so. If it isn't an actual painting, it will be planning one or drawing. If I wish to improve upon the quality of my work, I require myself to draw or paint most everyday. Besides, it is part of who I am.

13. HOW DO YOU DECIDE UPON A PRICE FOR EACH PAINTING?
     That is not easy. I still find that difficult after all these years. For me, it depends upon how much time is spent on it, the size, the type of framing, and if it completely and totally speaks of what I wish to express. (I have pieces stored away that are waiting for me to either discard or rework)

14. CAN I FRAME A PASTEL WITHOUT A MAT?
      This seems to be quite popular right now. Using a spacer between the glass and the pastel, it can easily be done and is quite safe to do so. It depends upon the final presentation one desires of their artwork.

15. HOW DO I CLEAN THE GLASS ON AN ARTWORK?
      When cleaning glass on artwork, never spray directly on the glass. Spray with a mild cleaner on a soft cotton cloth and then wipe the glass clean. If you spray the cleaner directly on the glass it can run down and get under the glass, on the mat or artwork.

16. HOW DO YOU KEEP YOUR PASTEL STICKS CLEAN SO THEY DON'T MUDDY UP YOUR PAINTINGS?
      There is a new art product on the market now made especially for pastel artists. It is "The Pastel Cleaner" which I highly recommend. This cleaner makes the pastel sticks as clean as new again with ease. It takes away the burdensome time-consuming task of trying to clean pastel sticks the old fashioned way. I would rather spend time working on a pastel painting then cleaning the pastel sticks. For more information, visit www.Cherryartproducts.com

17. WHAT DOES STYLE MEAN IN ARTISTS WORK?
      Style is a manner of painting, drawing, writing, speaking, dressing, decorating, or a person's manners or
way of being, their actions. In painting or drawing, style is the way they use their own technique, creativity and abilities or way of being as an artist. An artist's style can no more change or be different than their own handwriting. It represents a huge part of who they are. In other words, some people may think if an artist paints a floral as opposed to always painting landscapes, then they are painting in a different style. It is not a different style at all. It is simply a different subject matter and not a change of style. The floral is now drawn or painted in the artists same style. The only reason that it looks different is because it is a floral and not a landscape. Or one may think if an artist is painting in a different art medium, he/she has a different style. Again, NOT so. Impossible. It is merely a different or change of medium. Not a change of style. Your handwriting is always the same, just as an artists style is always the same. Think about it. We cannot change who we are, although we may continually improve upon who we are and how we act or react as we live through life's experiences, but we cannot become another person since we were all created different. And, why would we want to? Let's celebrate who we are. Let's celebrate the arts!

18. WHEN JUDGING ART SHOWS, WHO WOULD MAKE THE BEST SHOW JUDGE?
      Obviously someone who is well qualified, unbiased and not affiliated with the show they are judging,
certainly know the varied art mediums being juried in the show and doesn't mind taking their time to really
review each artists works without scorning the work they are judging. It is also good to have at least two or three judges with different areas of expertise reviewing the art. They should also not have an attitude that he or she is above the artists being judged, and they must treat each artist with respect. It is best too that they do not personally know the artists whose works they are judging. A good combination/panel of judges is a professor of art, a curator and one or two exceptionally, outstanding artists. Of course, show promoters should be prepared to pay the fee for qualified, unbiased jurying.     

      Thank you for your patronage of my work. I truly appreciate it. Perhaps we will meet at an art show or at my home studio gallery. In the meantime, may you be well and happy, and revel in the wonderful world of creativity that surrounds us. I look forward to speaking with you.

Artfully yours,

Sandy

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