Tom Hines is a photographer specializing
in fashion and portraiture. Tom was born and raised
in Brandon, Mississippi. He holds a BFA
from Cooper Union School of Art
and lives and works in New York City
with his wife Michelle.
H&M & Other Stories
The Lake & Stars
Foley & Corinna
Pastel sticks or crayons consist of pure powdered pigment combined with a binder. The exact composition and characteristics of an individual pastel stick depends on the type of pastel and the type and amount of binder used. It also varies by individual manufacturer.
Dry pastels have historically used binders such as gum arabic and gum tragacanth. Methyl cellulose was introduced as a binder in the twentieth century. Often a chalk or gypsum component is present. They are available in varying degrees of hardness, the softer varieties being wrapped in paper. Some pastel brands use pumice in the binder to abrade the paper and create more tooth.
Dry pastel media can be subdivided as follows:
Soft pastels: This is the most widely used form of pastel. The sticks have a higher portion of pigment and less binder, resulting in brighter colors. The drawing can be readily smudged and blended, but it results in a higher proportion of dust. Finished drawings made with soft pastels require protecting, either framing under glass or spraying with a fixative to prevent smudging; Hairspray also works. White chalk may be used as a filler in producing pale and bright hues with greater luminosity.
Pan Pastels invented in the past few years are formulated with a minimum of binder in flat compacts like women's makeup and applied with special Sofft micropore sponge tools. No liquid is involved. Pan Pastels can be used for the entire painting or in combination with soft and hard sticks.
Hard pastels: These have a higher portion of binder and less pigment, producing a sharp drawing material that is useful for fine details. These can be used with other pastels for drawing outlines and adding accents. Hard pastels are traditionally used to create the preliminary sketching out of a composition. However, the colors are less brilliant and are available in a restricted range in contrast to soft pastels.
Pastel pencils: These are pencils with a pastel lead. They are useful for adding fine details.
In addition, pastels using a different approach to manufacture have been developed:
Oil pastels: These have a soft, buttery consistency and intense colors. They are dense and fill the grain of paper and are slightly more difficult to blend than soft pastels, but do not require a fixative. They may be spread across the work surface by thinning with turpentine.
Water-soluble pastels: These are similar to soft pastels, but contain a water-soluble component, such as glycol. This allows the colors to be thinned out to an even, semi-transparent consistency using a water wash. Water-soluble pastels are made in a restricted range of hues in strong colors. They have the advantages of enabling easy blending and mixing of the hues, given their fluidity, as well as allowing a range of color tint effects depending upon the amount of water applied with a brush to the working surface.
There has been some debate within art societies as to what exactly counts as a pastel. The Pastel Society within the UK (the oldest pastel society) states the following are acceptable media for its exhibitions: "Pastels, including Oil pastel, Charcoal, Pencil, Conté, Sanguine, or any dry media". The emphasis appears to be on "dry media" but the debate continues.
“That’s the rain. I could be the rain. That chair, that wall. I could be that wall. It’s a terrible thing for a girl to be a wall.”
quoted in R.D. Laing’s
THE DIVIDED SELF
How could I capitulate even more, more than my husband, more than my parents, more than everyone?
I know they all detest me. I know that. I see it in their eyes when they do what I ask. They still always do it.
More than going on strike, I want to start a campaign of sabotage. Sabotage my job, my friendships, my relationship, my looks, everything.
All I want to be is
a viewpoint. Nothing more. Looking around like a god. Like a gazing machine.
This spring I’m going to be a corporate-goth-bohe- mian-neon-native-Amer- ican-Indian-casual-office girl.
To get me to smile more they give me more. More money, more love, more everything.
I want to be even more of an oxymoron. Pure penitence with no ideal.
What I’ve lost more than anything else is my desire for anything other than a slow, gradual march towards subjective destitution.
The old borders that made politics the domain of men have not been shattered with the glass ceiling, but with the creeping realization that politics does not exclusively exist within the factory gates, party machines and legislative assemblies.
I no longer want to genuinely live up to these expectations; I just want to fool everyone.
Photography by Tom Hines
Styling by Doria Santlofer
Text by Jeff Kinkle
Hair by Aleksandra Sasha Nesterchuk using TRESemmé
Makeup by Jen Myles
Manicure: FACE Stockholm
Model: Veranika at Ford Models
Stylist’s Assistant: Ilyssa Satter
Fashion Assistants: Elena Kibaltchitch and Dara Schafer
Hair Assistant: Erik Hinczak
Produced by Eros & Thanatos
All content copyright ©Tom Hines and/or respective contributing or quoted photographers/artists/content providers.