IMPORTANT INSTRUCTIONS FOR HANDLING AND SHIPPING PASTELS
Fixative The stability of a painting can be improved by using a fixative such as
Lascaux® before framing - a heavy coat on canson, a lighter coat on
pieces done on sanded paper. However, if possible, the intended owner
should have a voice in this, since the use of fixative comes at some cost
to the brilliance of the painting.
Framing A properly framed pastel will keep its brilliant beauty for generations.
However, framing a pastel should not be attempted by a framer who lacks
experience with pastels.
Several points are extremely important to the painting’s immediate and
long-range health.
1. First, even more than with other media, the painting must be
handled with extreme care. All it takes is one accidental touch
and the painting can be damaged or ruined.
2. When transporting pastel paintings, it's best if they remain flat or
tipped backward so that any dust that is shaken loose can slide behind
the bottom mat.
3. The surface of a pastel painting is actually three-dimensional. Flecks
of pastel pigment stand out from the surface, where they capture the light
and 'glow.' But many are rather loosely attached, so it is important to
frame pastels with glass, since transparent plastics such as Plexiglas®
build up a static charge that attracts bits of the pastel. And it is equally
important to keep the glass away from the painting.
4. Matting. Make certain that your framer has used a “spacer”
between the mat and glass to catch any loose particles that may
shake loose. It will prevent most problems with “dusting” on the
mats or glass. A good framer will put a spacer the same size of the
mat’s outer dimensions but about 3/8” to 1/2” in from the mat
opening.
5. As with other media, foam core and other backing boards
touching the back of the painting should be acid free, to
prevent gradual deterioration and discoloration.
Glass (if the Use an extra piece of foam or heavy cardboard the size of the glass over
painting is the glass before bubblewrapping the painting.
framed
before Before putting bubble wrap around your painting, put a pice of cardboard
shipping) or matboard over the glass – then wrap in bubble wrap. The cardboard
prevents the plastic bubblewrap from building up a static charge and
attracting loose bits of pastel to the glass rather than letting them
accumulate behind the mat “spacer.”
It is possible to apply a removable film to the glass, to keep the glass
together and prevent damage to the painting in case of breakage in
transit. It is probably not a good idea to apply masking tape to the glass
before shipping, since heat may cause the tape to stick too tightly to the
Glass, cont’d glass.
Packing Tracing paper provides very good protection for unframed pastels. Tape
unframed the painting face-up on a piece of mount card, then tape a sheet of
pastels. tracing paper to the board so only the tracing paper contacts that the
surface of the painting. It is important to prevent side-to-side movement.
Downward pressure can actually help push the pastel into the tooth of the
surface. (One artist tells of a former art tutor who applied his pastels
thickly, then put his pastels under the floor carpet between layers of
tracing paper and sheets of newspaper, so that people walking across
them would act as a fixative – this is not a recommendation, but it makes
a point.)
If possible, ship the painting in a “box within a box.” This needs to be
planned carefully. Airfloat box are excellent but expensive. Other
possibilities are U-Haul’s mirror boxes, and the Uline company
(www.uline.com). But don’t skimp on boxes – if the painting is ruined in
shipment, everybody loses. On the outside of your box print “Property of
...” and print your name prominently, to help insure that the correct box
is returned with each painting. Some shows also recommend a photo in
each box of which piece belongs in it.
Inside the inner box, sandwich the backing board and tracing paper
between several layers of card and foam board. In turn, place this
sandwich between two pieces of waffle foam, carpet pad, or the firm foam
sheets made to insulate garages.
Nest the inner box into the outer box, lined with foam packing above,
below, and on all sides, so all spaces are filled snugly and the painting can
not shift or jiggle internally during transit. Don’t use “packing peanuts” –
some galleries and shows will not display a piece packed in with
“peanuts.”
Wrap the whole package in packing paper; if the package might get wet,
wrap it in plastic as well.
Ship, with plenty of insurance, marked:
PASTEL PAINTING.
HANDLE WITH CARE.
THIS SIDE UP.
DO NOT CRUSH.
Paperwork In shipping to a gallery or show, be sure to include all necessary
paperwork. This should include:
name, address, prices, titles,
entry forms, and
checks that cover fees or return shipping, etc.
Paperwork, If you’re sending more than one box, write “1 of __,” “2 of ___,” etc., so
cont’d the recipient knows if they have received all of your pieces if you are
shipping multiple containers.
Shipping If it isn’t specified in the prospectus or shipping instructions, ask your
designated receiver how they prefer to have the package shipped to
them. Make certain you give them a return shipping label – prepaid is
best. Or include a check for return shipping with the art paperwork.
The recipient Give the recipient clear instructions about what to expect and how to deal
with framed or unframed pastels.
This information is condensed from blog contributions submitted by Mary Ann Cherry and “Sandra,” and from
the websites of Teresa Freed Pastels and The Victorian Gallery.
PLEASE TRANSPORT YOUR PASTEL PAINTING
FACE UP,
IF AT ALL POSSIBLE !
PLEASE READ THIS INTERESTING AND USEFUL
INFORMATION ABOUT PASTELS
Displaying The more you know about pastels, the more you will enjoy your paintings. A
pastels properly handled pastel holds up well, but it can be ruined by rough
treatment. Please read the following information carefully.
1. Even more than with other media, a pastel must be handled with care. One
accidental touch can damage or ruin a painting.
2. Pastels need special matting, with a reverse bevel on the outer mat, or a “spacer”
between it and the painting, or both, to catch any particles that may shake loose.
Any time a pastel is off the wall, it should lie flat or stand tipped backward
so that any loose pigment flakes can fall into the dust trap.
3. The surface of a pastel painting is actually three-dimensional. Flecks of pastel
pigment stand out from the surface, where they capture the light and 'glow.' But
many are rather loosely attached, so it is important to frame pastels with glass,
since transparent plastics such as Plexiglas® build up a static charge that attracts
bits of the pastel. And keep the glass away from the painting.
4. The stability of a painting can be improved by using a fixative, though this comes
at some cost to the brilliance of the painting. If possible, the owner should discuss
this with the artist and the framer.
5. Pastels oxidize very little with time. However, as with any fine art, it is best to
hang your pastel painting away from direct sunlight.
History of Historically, pastel can be traced back to the 16th century. Its invention is attributed
pastels to the German painter Johann Thiele. Edgar Degas was the most prolific user of
pastel, and its champion. His protégé, Mary Cassatt introduced the Impressionists
and pastel to her friends in Philadelphia and Washington, and thus to the United
States. In the spring of 1983, Sotheby Parke Bernet sold at auction two Degas
pastels for more than $3,000,000 each. Both pastels were painted around 1880.
Today, pastel paintings have the stature of oil and watercolor as a major fine art
medium, and many artists specialize in using them. Most pastelists appreciate the
'hands on' quality of pastels. Not having a brush to manipulate often results in a
very intuitive and expressive work of art.
Pastels – When applied to an acid-free, non-deteriorating paper, canvas, or board, and
the properly framed, pastel is the most brilliant and stable of all art media. Its name is
medium related to the French word “pastische” because powdered pigment is ground into a
paste, with a small amount of gum binder, and then rolled into sticks. It has nothing
to do with pale colors, as the word is commonly used in cosmetics, fashion, and
house paint.
To the untrained eye, a pastel stick may look like a crayon or a piece of colored
chalk. However, there is a wide gulf between these media and pastels -- crayons are
basically colored wax, and colored chalk is a powdered limestone substance
impregnated with dyes. Neither can approach the rich, lustrous hues achieved with
good-quality soft pastels.
Pastel is nearly pure pigment – the same pigment used in making all fine art. A
pigment particle, suspended in gum tragacanth and seen under a microscope, looks
like a diamond with many facets. Therefore, pastel paintings reflect light like a prism.
Pastel is sometimes combined with watercolor, gouache, acrylic, charcoal or pencil in
a “mixed-media” painting, but it is incompatible with oil paint.