The following FAQs pertain to the dry pastel medium and pastel art in general. This section is not intended in any way to be a definitive source and the information gathered is not endorsed by IAPS. It is a venue for artists to share their experience with fellow artists working in this medium. And here is some of the feedback we've received:

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Thanks for visiting and do come again as this section will continue to grow. A special thank you to the panel of pastel artists who take time to share their experiences and provide us with helpful advice.

FRAMING PASTEL PAINTINGS

Q.

Do pastels have to be framed differently than watercolors?

A.

Both mediums require the surface be protected by glazing (glass being the most preferred). Pastel works of art generally require a minimum of 1/4" between the surface of the pastel and the glazing. The glazing should be cleaned on both sides with anti-static cleaner especially if Plexiglas or acrylic glazing is used. Loose particles may be drawn to the inside surface of the glazing otherwise. It is wise to insert a spacer between the surface of the pastel and the mat for loose pastel particles to fall into. Before putting the pastel painting in place, tap the back to get rid of excess dust. Some artists spray their work but others prefer not to as the colours may change.

PASTEL PAPERS

Q.	What type of paper works best?
A.	There are many types of papers. All of them have "tooth" for the pastel to grab. There is a range of papers produced especially for chalk pastel. The papers range from very little tooth to heavily sanded. You will find some papers work best with hard pastels while others are better for soft pastels and a more painterly approach. The heavily sanded papers will hold more pigment.
Q.	Can you use papers not made specifically for chalk pastel?
A.	Any paper with "tooth" will hold some pastel. Cold press watercolor paper works well but will not hold many layers of pigment.
Q.	Can you use foam core as a surface for chalk pastels?
A.	Foam core is very nice to work on, as it is soft yet firm and light if the painting is being shipped. Before you work on it, apply a coat of gesso to the back of the board to prevent warping. Apply a pastel ground to the working surface (Golden Pastel Ground or Art Spectrum tinted grounds work well). Other artist boards or 4-ply mounting board can be prepared in the same way.
Q.	How do you prepare your own sanded surface?
A.	Mix equal amounts of gesso and extra fine pumice (available at hardware stores), adding enough water to make the consistency of heavy cream. Gesso the back of the surface and let dry. Apply a coat to the surface horizontally and let dry. Apply another layer vertically and let dry. Apply the final coat diagonally and let dry. Play with the final coat to obtain the surface you like to work on. The mixture may be tinted before you start if you want a colored surface.
Q.	I love heavily sanded surfaces, but feel so guilty when I see all that pastel dust falling. Is there any way of saving it?
A.	Before starting to paint, line the edge of your easel with a tray (paper, tin foil, wall paper plastic tray, etc.). The tray will catch all the dust. When you are finished, pour the dust into a jar. After you have accumulated a good amount, pour onto a waxed paper surface and add just enough water or rubbing alcohol mix into the dust to make it stick together. Roll into any shape you want and leave to dry.

PASTEL STICKS

Q.	It happened to me again - this morning! I stared in disbelief at the floor. There it was - every pastelist's nightmare! My last grey-violet pastel was on the floor in a thousand pieces! I almost cried. Help!
A.	Get down on your knees and carefully collect every little piece including the dust on a piece of waxed-paper. Add a drop of alcohol and roll it into a stick. After a few days, you will able to use the new stick, smaller in size but hopefully enough to finish the painting.
Q.	Pastel sticks range from soft to hard. What are the names of some major brands and their hardness?
A.	A good source for information is The Collectors Edition of Pastel Highlights, issued by American Artists Magazine. The following list may not be complete, but it is a good starting point. Different brands are available in different countries and different areas: Hardness Brand Extra-soft Schmincke, Unison, Maimeri, Artworks Soft Rowney’s, Sennelier, Townsend, Wallis Medium Demco Chalk Pastels, Rembrandt, Schwan’s Carb Othello pastel Pencils, Yarka, Winsor Newton Hard Alphacolor, Conte, Nupastel, Grumbacher, Holbein, Sakura Nouvel Carre, Prang Artist’s Chalk

SHIPPING

Q.	What is the best way to ship pastel paintings? On two occasions, I've used a cardboard box and bubble wrap, filling the empty spaces with styrofoam beads. The first time my painting arrived with a broken frame. The second time the glass was shattered. What do you recommend?
A.	There are a few things to keep in mind when shipping pastels. Weight is important and it relates to the cost of shipping. Cardboard is light but it is not sturdy. Its life expectancy is good for one time use only. Styrofoam beads and other fillers do not stop the painting from shifting. The cardboard can be punctured and sometimes shippers may even open the box to inspect the contents. If the packing is complicated they may not put it back together correctly. To properly protect your investment, you must spend money on proper packaging materials. You can still pack it yourself, but purchase a professional system (there are several - check out "Strongbox" by Airfloat). Professional systems are light but strong, and most have good liners. Many corrugated containers have foam inserts to prevent the painting from slipping. Some artists spray the boxes with clear varnish to help weather proof them beyond the advertised humidity proofing. The containers also last a long time. Some are in their 12th use!
Q.	How can I ensure that if the glass is broken during shipping the fragments will not damage the surface of the painting?
A.	Professional shipping suppliers have a Glass Skin to apply to the outside surface of the glass. Should the glass break, the skin holds the glass away from the painting (See Airfloat).
Q.	I shipped my pastel painting with Plexiglas instead of glass for safety reasons. I was so embarrassed to learn that the Plexiglas drew pastel particles to its surface like a magnet and my painting was hung that way. If the show prospectus requires works to be shipped under Plexiglas or acrylic is there a solution?
A.	Make sure that all the excess loose dust has been shaken off by gently tapping or spanking the back of the pastel work. Ensure that there is a minimum of 1/4" between the surface and the Plexiglas. A space between the mat and the artwork leaves room into which the loose pastel dust may fall. Before putting the Plexiglas in place, clean each side with anti-static cleaner.
Q.	What are the benefits of wood containers?
A.	Wooden containers are very strong but heavy. However, if you are shipping paintings outside the country or a number of works at once, wooden containers may be the way to go. Do be aware that shippers may feel that these boxes do not need as much careful handling.
Q.	I have to ship a pastel painting. What would be the best way to frame it?
A.	Follow these tips and you should be ok: Use a wooden frame that is securely glued in the corners. Metal frames flex too much. Follow the dictates of the show prospectus regarding glazing (Glass, Plexi or Acrylic) If acrylic or plexi must be used, clean both sides with anti-static cleaner. Leave a minimum of 1/4" from the surface of the pastel to the glazing. If you use glass, cover it with a Glass Skin.
Q.	I don't know how much insurance to buy. What kind of insurance should I get for my work before shipping it?
A.	Insure the work for the value of the materials involved. The carrier will reimburse you for your framing if you can prove the painting was properly packed (generally professional systems meet this criteria) and the damage is the fault of the carrier. However, if the painting has been framed with glass and the painting is damaged by broken glass, they will not reimburse you for the value of the painting or the glass, just the frame. UPS will tell you flat out that they do not accept fine art shipped under glass. If you do, it is at your own risk.
Q.	A client wants to take an unframed pastel work back home on the plane. How can I pack it so it is not damaged in transit?
A.	Basically, there are two methods to choose from. But first, determine whether or not the artwork will be hand-carried as the size of the painting may impact which of the following methods you choose. i. To ship flat: Mount the painting on 3/16" or heavier foam core that is 2" larger all round the artwork. Tape all four sides to the foam core. Place glassine paper over the painting and tape securely on all sides. Waxed paper may be used if the painting is small enough and the painting will not be left in an over heated environment. Cut another foam core the same size as the first one and place over all. Tape securely. Place all of this into a packing box that is slightly larger than the foam core (it may even fit into a suitcase). If you have more than one work to ship, you may stack the work by placing and taping a piece of glassine between each painting. The key is to securely tape each piece of work and glassine, plus the two pieces of foam core so there is no slippage to smear the work. ii. To ship rolled: Kitty Wallis uses the following method to ship multiple paintings on her Wallis Archival sanded surface. This method is handy for very large works. You can carry it onto a plane or mail it. Cover the paintings with glassine (several paintings may be stacked on top of one another). Roll the paintings face up around a sturdy 4-6" diameter cardboard mailing tube. Roll as tightly as possible. Cover the roll with a layer of craft wrapping paper and tape securely. Place the taped roll inside a larger sturdy mail tube with cushioning at both ends and close. Note: This method is not advisable for cross-border shipping. Customs may carelessly pull out the painting and damage it in the process.

GENERAL TERMS