Does turp hurt paper?
Dave Furstenau
pastel or charcoal paper (I'm using Canson at the mo'). I've been
doing some pastel work and recall that most every book I've ever seen
mentions a technique of dipping a pastel stick directly into
turpentine and drawing with that (for a somewhat painterly effect).
I suppose, if it's a reasonably common practice, my concerns are
groundless -- still, there might be some variable I'm overlooking;
maybe they use a weaker solution, maybe they fix the surface, maybe
they only do this after the surface is sufficiently covered with
pastel pigment, etc., etc., yada-yada-yada
Dave Furstenau d...@unlinfo.unl.edu
Ima Dillo
>I've been
>doing some pastel work and recall that most every book I've ever seen
>mentions a technique of dipping a pastel stick directly into
>turpentine and drawing with that (for a somewhat painterly effect).
You must mean OIL Pastels. The turpentine, or for that matter any
paint thinner, would help dissolve the oil pastel somewhat. You can
also brush the already applied pastel out by applying thinner with
brush, finger, rag, etc. to the drawing already laid down on the paper.
I can think of no advantage and great disadvantage to trying this
with ordinary pastels which are already dry and chalky and not
conducive to painterly application. If I wanted to get painterly with
regular pastels, I would combine the chalk (pigment) with clear
acrylic medium for painterly looks. In fact, this is how most
multi-media artists work--combining the best of various techniques
for non-conformist looking results.
To answer the specific question on paper being damaged by the
turpentine or thinner, that shouldn't be a problem if the paper is
a good quality 100percent cotton rag, linen, or papyrus. Paper
of woodpulp quality MAY deteriorate faster than it would
anyway normally over time since the thinner or turps may
release the noxious elements otherwise bound up in the paper's
sizing.
--
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Sticks and stones may break YOUR bones
But getting run over is MY worry.
< Ima Dillo. >
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Dave Furstenau
: In article <4bqrkf$d...@crcnis3.unl.edu>, d...@unlinfo.unl.edu says...
: >I've been
: >doing some pastel work and recall that most every book I've ever seen
: >mentions a technique of dipping a pastel stick directly into
: >turpentine and drawing with that (for a somewhat painterly effect).
:
: You must mean OIL Pastels. The turpentine, or for that matter any
: paint thinner, would help dissolve the oil pastel somewhat.
No, I *am* refering to traditional (dry) pastels. It's certainly
possible that I simply mixed up some discussion I dredged up from the
back of my mind and that the original technique was indeed meant for
oil pastels -- still, I thought it might be interesting to try. (Who
knows, maybe this is how new techniques get started; people like me
screwing up the instructions and liking the results.)
I *do* know that dipping pastels in regular liquid fixative is a
time-honored technique for dry pastels. I'm guessing this is for a
pastelist's approximation of impasto or something along those lines.
: I can think of no advantage and great disadvantage to trying this
: with ordinary pastels which are already dry and chalky and not
: conducive to painterly application. If I wanted to get painterly with
: regular pastels, I would combine the chalk (pigment) with clear
: acrylic medium for painterly looks.
Good point. I agree, I don't see the purpose (ergo my original
question). Mostly when I paint with dry pastels, I blend the
bejabbers out of'em -- which is exactly what most people try to avoid.
I prefer muted colors in the first place, so most of the caveats
against overworking don't apply to me. Still, it often seems a shame
not to let the pastels work at full strength (when the work calls for
it, of course). I am sorta moving in that direction, which is why I'm
exploring the various MM techniques I had hitherto ignored.
What got me thinking in this direction in the first place was a
passage in a current rendering. Just a quick experiement -- I'm
expanding a figure drawing session sketch and placing it against a
brick wall. I'm sorta drawn to the visual contrast of the soft curves
and illusive edges of the human form against the sharply defined
geometric aspects of a weather-beaten, pock-marked, ancient brick wall.
Generally, I've been using fixative almost to the point of creating a
sheen on the wall, but avoiding it on the figure itself. (nb: I use
an airbrush & mask to control the fixative.) The results are quite
agreeable and I'm anxious to run a few other experiments, possibly
using acrylic medium (as you mentioned).
: < Ima Dillo. >
Dave Furstenau d...@unlinfo.unl.edu
bicycle
Furstenau) wrote:
> mentions a technique of dipping a pastel stick directly into
> turpentine and drawing with that (for a somewhat painterly effect).
I've never heard of this technique, but I wonder if they are not talking
about oil pastels. In answer to your question, no, turpentine will not
hurt the paper. It will certainly stain it, so It would be best if you
used the whole surface, rather than leaving some parts of the paper
untouched, unless you don't mind the stain. It will eventually evaporate
and leave a residue of resin.