Since the '70s, when painting on canvas I have been using acrylic rather than oil colors.
I like acrylic better because it dries faster. Acrylic is a water-based paint, and a finishing treatment gives it a shine which looks very much like oil.
Acrylic I generally apply undiluted, with large spatula strokes; sometimes a velatura is added, where the color is diluted with medium.
In their amazing range of colours, small 'Rembrandt' or 'Semmelier' chalks are a true miracle for freshness and for immediacy of drawing. Despite the fragility (I still use pastels from an inherited nineteenth century box) they slide, they bounce, and the line breaks off on the rough or irregular Canson or Provence paper sheet.
The fixative solutionI prepare myself after the formula I learned from my teacher Carpi at the Academy.
My pastel drawings are of different sizes - large, small, lately in A3 format. When drawn with pastels, flowers, nature, waterfalls, but particularly landscapes verge on abstract compositions - whether they fill the page or leave large blank spaces.
Prints were once impressed by means of lithographic stone; today zinc plates are used. Each color needs a different plate, and their overlaying creates the final result. Plates are drawn upon with special pencils or crayons, very fat and graded, and always black. Only where the drawning is the acid acts, and then the ink settles.
My lithographs are often elaborate, even up to ten colors. Printing must be supervised plate by plate, the artist herself trying and adjusting color tone and distribution.
The number of printed copies can vary: usually no more than one hundred or one hundred and twenty numbered copies, plus some with Roman numerals or letters, usually intended for the client or the critics. The author is entitled to the so-called "artist's proofs", a maximum of twenty-five for each run.