Yes, it may indeed be possible to frame pastel without glass!

[Bartc]

I know that sounds totally sacrilegious, but I had to find a way to avoid the expense of Museum Glass and its equivalents, as great as they are.

I've been experimenting with Spectrafix Natural Glass products. There are two: an undiluted medium and a mister full of a Final Fix product, both made with that same base of Natural Glass. While I didn't buy the Final Fix, I did buy the undiluted version and with some guidance from Della at Spectrafix I've been diluting it and misting my pastel work.

To be clear this is NOT the Degas product line. It's the Natural Glass product.

Here's what I found lately with pastels: As long as you start with light first coats, you may not even notice any color/contrast shift when it dries, even with multiple coats. If anything, it may increase contrast slightly by darkening the dark colors, but it doesn't shift the hue at all that I can see. With multiple coats, as Della suggested, letting them dry well between each coat, it stays matte finish, yet it does form a hard protective cover as it cures. So far, it seems that it may well be able to withstand framing without glass!

Wow, that's a real bonus. I still wouldn't suggest that it protects from scratching, since I haven't tested that, and have no idea about collecting atmospheric dust over time, but it does appear to be possible after all.

Previously I reported that trying multiple mist coats with watercolors worked very well, and after those dried I was even able to brush on the thicker medium, which gave it a gloss finish. My watercolor teacher friend was unable to tell that it wasn't something like oil or acrylic when he saw that. If you like gloss, it likely can be done with pastels AFTER multiple stabilizing mist coats. I haven't tried that yet, but haven't sought the gloss for my pastels.

This is well worth your trying, folks, even if you disdain fixatives. And Della suggested that misting between layers while painting (like a workable fixative) might work even better. Haven't tried that myself yet.

 

[Donna T]

That's very good to hear! Framing pastels would be much less of a hassle if glass weren't mandatory. It would be nice to have a glass-free option. A matte finish sounds good too!

 

[Sanlynn]

Thanks for this post, Bart. Framing is so expensive and it’s nice to know there may be an option. Please keep us posted.

 

[laika]

And Della suggested that misting between layers while painting (like a workable fixative) might work even better.

Synchronicity? I just got off e-mail to Della about an unrelated question about Natural Glass.

Note: Natural Glass doesn't work in the long run with oil pastels, which never really dry.

 

[Bartc]

Synchronicity? I just got off e-mail to Della about an unrelated question about Natural Glass.

Note: Natural Glass doesn't work in the long run with oil pastels, which never really dry.

Yes, they're very clear about the problem with oil pastels. I only use regular dry pastels, so it's not an issue for me.
Della is very helpful. And all their products are truly non-toxic and have no noxious smells!

 

[Jo Castillo]

Thanks, interesting info. Will have to try.

 

[Artyczar]

I've not yet been able to afford museum glass and have been using UV Plexi. It's lighter and easier to ship, and easier to charge less. People sometimes don't understand how that is put into the cost of the work. It is so damn expensive! But it sure is better.

 

[Bartc]

I've not yet been able to afford museum glass and have been using UV Plexi. It's lighter and easier to ship, and easier to charge less. People sometimes don't understand how that is put into the cost of the work. It is so damn expensive! But it sure is better.

Ayin, from everything I've read there is only one acrylic that is decent for pastels because it is designed to repel static (all others don't) and that's Optium. It's great for larger paintings because it won't break, but unfortunately, it appears to be even more expensive than AR70 or Museum Glass!

 

[JennieJo]

I know that sounds totally sacrilegious, but I had to find a way to avoid the expense of Museum Glass and its equivalents, as great as they are.

I've been experimenting with Spectrafix Natural Glass products. There are two: an undiluted medium and a mister full of a Final Fix product, both made with that same base of Natural Glass. While I didn't buy the Final Fix, I did buy the undiluted version and with some guidance from Della at Spectrafix I've been diluting it and misting my pastel work.

To be clear this is NOT the Degas product line. It's the Natural Glass product.

Here's what I found lately with pastels: As long as you start with light first coats, you may not even notice any color/contrast shift when it dries, even with multiple coats. If anything, it may increase contrast slightly by darkening the dark colors, but it doesn't shift the hue at all that I can see. With multiple coats, as Della suggested, letting them dry well between each coat, it stays matte finish, yet it does form a hard protective cover as it cures. So far, it seems that it may well be able to withstand framing without glass!

Wow, that's a real bonus. I still wouldn't suggest that it protects from scratching, since I haven't tested that, and have no idea about collecting atmospheric dust over time, but it does appear to be possible after all.

Previously I reported that trying multiple mist coats with watercolors worked very well, and after those dried I was even able to brush on the thicker medium, which gave it a gloss finish. My watercolor teacher friend was unable to tell that it wasn't something like oil or acrylic when he saw that. If you like gloss, it likely can be done with pastels AFTER multiple stabilizing mist coats. I haven't tried that yet, but haven't sought the gloss for my pastels.

This is well worth your trying, folks, even if you disdain fixatives. And Della suggested that misting between layers while painting (like a workable fixative) might work even better. Haven't tried that myself yet.

Thanks for this. OPs are something I've almost given up on. The cost of framing has relegated them to sketches only. Anyone from Australia here? Queensland even better? and know of supplier for this type of oroduct. I'm on the hunt. If I find any I'll post links.

 

[JennieJo]

Thanks for this. OPs are something I've almost given up on. The cost of framing has relegated them to sketches only. Anyone from Australia here? Queensland even better? and know of supplier for this type of oroduct. I'm on the hunt. If I find any I'll post links.

I managed to get some in Australia, on ebay. Waiting for delivery early next week will need some managing. Original cost was $95 plus postage! Found one for $35.

I'm lining up OP works. Stopped doing them because of framing needs. Hope this works.

 

[JennieJo]

I managed to get some in Australia, on ebay. Waiting for delivery early next week will need some managing. Original cost was $95 plus postage! Found one for $35.

I'm lining up OP works. Stopped doing them because of framing needs. Hope this works.

Well ... got an email ... product is on backorder. Will be at least 1 month before it hits Oz.

 

[Bartc]

I managed to get some in Australia, on ebay. Waiting for delivery early next week will need some managing. Original cost was $95 plus postage! Found one for $35.

I'm lining up OP works. Stopped doing them because of framing needs. Hope this works.

Jennie, I have only used these on dry pastels and watercolors, not oil pastels. I have no idea how it would work on OP. This is a casein, water-soluble product.

 

[Terri]

Thanks for the clarification, Bart. That's been my understanding, as well. I've yet to frame anything in OP's that I've done while mulling options!

 

[JennieJo]

Thanks for the info. Should of known it was too good to be true.

Terri I'm experimenting, with sketch book pages, and making a few of my own concoctions, . Will try a frame on some with and without glass next week.

 

[Terri]

Thanks for the info. Should of known it was too good to be true.

Terri I'm experimenting, with sketch book pages, and making a few of my own concoctions, . Will try a frame on some with and without glass next week.

Great! I'll be interested to see what you come up with, Jennie.

 

[JennieJo]

Great! I'll be interested to see what you come up with, Jennie.

So will I that's what so great about having a very very laterally thinking mind.

 

[JennieJo]

I know that sounds totally sacrilegious, but I had to find a way to avoid the expense of Museum Glass and its equivalents, as great as they are.

I've been experimenting with Spectrafix Natural Glass products. There are two: an undiluted medium and a mister full of a Final Fix product, both made with that same base of Natural Glass. While I didn't buy the Final Fix, I did buy the undiluted version and with some guidance from Della at Spectrafix I've been diluting it and misting my pastel work.

To be clear this is NOT the Degas product line. It's the Natural Glass product.

Here's what I found lately with pastels: As long as you start with light first coats, you may not even notice any color/contrast shift when it dries, even with multiple coats. If anything, it may increase contrast slightly by darkening the dark colors, but it doesn't shift the hue at all that I can see. With multiple coats, as Della suggested, letting them dry well between each coat, it stays matte finish, yet it does form a hard protective cover as it cures. So far, it seems that it may well be able to withstand framing without glass!

Wow, that's a real bonus. I still wouldn't suggest that it protects from scratching, since I haven't tested that, and have no idea about collecting atmospheric dust over time, but it does appear to be possible after all.

Previously I reported that trying multiple mist coats with watercolors worked very well, and after those dried I was even able to brush on the thicker medium, which gave it a gloss finish. My watercolor teacher friend was unable to tell that it wasn't something like oil or acrylic when he saw that. If you like gloss, it likely can be done with pastels AFTER multiple stabilizing mist coats. I haven't tried that yet, but haven't sought the gloss for my pastels.

This is well worth your trying, folks, even if you disdain fixatives. And Della suggested that misting between layers while painting (like a workable fixative) might work even better. Haven't tried that myself yet.

Just after reading this post I ordered a product 9nline. Now, no Idea what it's called but, it has finally arrived in Australia and hit the mail trail to me. I'll do some tests and see if it works well on oil pastels.

 

[JennieJo]

I know that sounds totally sacrilegious, but I had to find a way to avoid the expense of Museum Glass and its equivalents, as great as they are.

I've been experimenting with Spectrafix Natural Glass products. There are two: an undiluted medium and a mister full of a Final Fix product, both made with that same base of Natural Glass. While I didn't buy the Final Fix, I did buy the undiluted version and with some guidance from Della at Spectrafix I've been diluting it and misting my pastel work.

To be clear this is NOT the Degas product line. It's the Natural Glass product.

Here's what I found lately with pastels: As long as you start with light first coats, you may not even notice any color/contrast shift when it dries, even with multiple coats. If anything, it may increase contrast slightly by darkening the dark colors, but it doesn't shift the hue at all that I can see. With multiple coats, as Della suggested, letting them dry well between each coat, it stays matte finish, yet it does form a hard protective cover as it cures. So far, it seems that it may well be able to withstand framing without glass!

Wow, that's a real bonus. I still wouldn't suggest that it protects from scratching, since I haven't tested that, and have no idea about collecting atmospheric dust over time, but it does appear to be possible after all.

Previously I reported that trying multiple mist coats with watercolors worked very well, and after those dried I was even able to brush on the thicker medium, which gave it a gloss finish. My watercolor teacher friend was unable to tell that it wasn't something like oil or acrylic when he saw that. If you like gloss, it likely can be done with pastels AFTER multiple stabilizing mist coats. I haven't tried that yet, but haven't sought the gloss for my pastels.

This is well worth your trying, folks, even if you disdain fixatives. And Della suggested that misting between layers while painting (like a workable fixative) might work even better. Haven't tried that myself yet.

I have been experimenting with NATURAL Glass and OPS. I do know all the reasons why it won't work, but I needed a way to scan OPS without constantly cleaning it, and I want a way to sell works on paper to renters and travellers - so they don't have to live with bare walls

Step 1: Using well worked with thin layers of hard pastels, I've let these two works sit for about 6 months. Still fell like OPS to the touch, but surface not visible affected.

Step 2: Spray with the 'glass'. It does go on in blobs for me. Gently move the material over the surface. I use lines of the OP strokes to reduce visual impact- there was some in early experiments. Let fully dry in cool place.

Step 3: scan! It worked. No mess to clean up. Image was fine to print on

paper/canvas. Did a small canvas test.

Step 4: Sell one. I did. And I explained it was an experiment. They didn't care. They were renters.

Now to go to the next stage. Use a work I really care about. #BABBA #Being A Brave Bold Artist

 

[Bartc]

Light coats only (I use 4 or more) and with a mister spraying across from above, not at the paper. It works mostly.

 

[JennieJo]

I know that sounds totally sacrilegious, but I had to find a way to avoid the expense of Museum Glass and its equivalents, as great as they are.

I've been experimenting with Spectrafix Natural Glass products. There are two: an undiluted medium and a mister full of a Final Fix product, both made with that same base of Natural Glass. While I didn't buy the Final Fix, I did buy the undiluted version and with some guidance from Della at Spectrafix I've been diluting it and misting my pastel work.

To be clear this is NOT the Degas product line. It's the Natural Glass product.

Here's what I found lately with pastels: As long as you start with light first coats, you may not even notice any color/contrast shift when it dries, even with multiple coats. If anything, it may increase contrast slightly by darkening the dark colors, but it doesn't shift the hue at all that I can see. With multiple coats, as Della suggested, letting them dry well between each coat, it stays matte finish, yet it does form a hard protective cover as it cures. So far, it seems that it may well be able to withstand framing without glass!

Wow, that's a real bonus. I still wouldn't suggest that it protects from scratching, since I haven't tested that, and have no idea about collecting atmospheric dust over time, but it does appear to be possible after all.

Previously I reported that trying multiple mist coats with watercolors worked very well, and after those dried I was even able to brush on the thicker medium, which gave it a gloss finish. My watercolor teacher friend was unable to tell that it wasn't something like oil or acrylic when he saw that. If you like gloss, it likely can be done with pastels AFTER multiple stabilizing mist coats. I haven't tried that yet, but haven't sought the gloss for my pastels.

This is well worth your trying, folks, even if you disdain fixatives. And Della suggested that misting between layers while painting (like a workable fixative) might work even better. Haven't tried that myself yet.

Still experimenting with OP options for glass free framing.
Bought a book yesterday, The Art of Danny Flynn. All the artworks are gouache and Indian Ink. Liking the look I went on a how to hunt. Couldn't find much.

Went to my bought but underused products and found the Sennelier inks. And a couple of OP works that were in my 'test on these' pages box.

The one shown below was used to create characters for other works. Very loose, very light application of OPs. Did a very watery wash using the yellow and red inks.

The idea behind the process, as used on an artists how to page, is to cover the work with the wash. Let it settle, not dry fully. Then gently remove any ink you can with a soft cloth. Remove as much or as little as you like.

I like some of the results. The artist also used gold acrylic pens before the wash and let them bleed into each other. Might try that next.