Pastels are a dry medium and produce a great deal of dust, which can cause respiratory irritation.

But an emerging fanzine culture identified with the group's sound and image, and slowly The Pastels started to influence a new wave of groups, which interested the NME and other UK media.

Their most recent release is the soundtrack to David Mackenzie's The Last Great Wilderness ( Geographic, 2003 ), which, made for film or not, is one of the most completely realised Pastels albums.

Pastels have some techniques in common with painting, such as blending, masking, building up layers of color, adding accents and highlighting, and shading.

Pastels have become popular in modern art because of the medium's broad range of bright colors.

Pan Pastels can be used for the entire painting or in combination with soft and hard sticks.

Pastels can be used to produce a permanent work of art if the artist meets appropriate archival considerations.

Pastels were used on top of computer animation, with each hand-drawn piece being scanned into a computer system and digitally manipulated.

They supposedly formed when Amelia Fletcher and Elizabeth Price, both wearing Pastels badges, met at a club in Oxford.

The group's profile outside Japan became much higher when Stephen McRobbie of The Pastels signed them to his Geographic label.

In the same year appeared the novel Coeur de femme, and Nouveaux Pastels, " types " of the characters of men, the sequel to a similar gallery of female types ( Pastels, 1890 ).

* 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.

* Pilgrim, Dianne H. " The Revival of Pastels in Nineteenth-Century America: The Society of Painters in Pastel ".

Pastels are an art medium having roots with the modern crayon and stem back to Leonardo da Vinci in 1495.

Pastels in Prose.

* Werner, Alfred ( 1969 ) Degas Pastels.

In the United Kingdom the C86 cassette, a 1986 NME compilation featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the UK indie scene at the start of 1986.

In 1890, Merrill published Pastels in Prose, a collection of his translations of French prose poems.

The C86 cassette, released in 1986 by NME and featuring such bands as The Wedding Present, Primal Scream, The Pastels, and the Soup Dragons, was a major influence on the development of indie pop and the British indie scene as a whole.

The Pastels are a group from Glasgow, Scotland, UK.

The Pastels ' sound continued to evolve and, although part of the NMEs C86 compilation, in interviews they always sought to distance themselves from both twee and shambling developments.

Their debut album, Up for a Bit With The Pastels ( Glass, 1987 ; re-issue Paperhouse, 1991 ) moved from garage pop-punk through to ballads with synth orch splashes.

This line-up is probably the best known of The Pastels ' various phases, and often featured either David Keegan ( Shop Assistants ) or Gerard Love ( Teenage Fanclub ) on guitar.

In 2006, The Pastels developed and completed new music for a theatre production by Glasgow based company, 12 Stars.

In 2009, The Pastels, in collaboration with Tenniscoats from Tokyo, Japan, released an album called Two Sunsets.

The Pastels now operate their own Geographic Music label through Domino, and are partners in Glasgow's Monorail Music shop.

The only thing which would have attracted attention was that two wore the uniform of prison guards, three the striped suits of convicts.

She seemed to have come such a long distance -- too far for her destination which had wilfully been swallowed up in the greedy gloom of the trees.

Don't like to bother no one unless we have to, which I figger we do, in your case.

As for states' rights, they have never counted in the thinking of my liberal friends except as irritations of a minor and immoral nature which exist now only as anachronisms.

Of greater importance, however, is the content of those programs, which have had and are having enormous consequences for the American people.

I have just asked these questions in the Pentagon, in the White House, in offices of key scientists across the country and aboard the submarines that prowl for months underwater, with neat rows of green launch tubes which contain Polaris missiles and which are affectionately known as `` Sherwood Forest ''.

They are huge areas which have been swept by winds for so many centuries that there is no soil left, but only deep bare ridges fifty or sixty yards apart with ravines between them thirty or forty feet deep and the only thing that moves is a scuttling layer of sand.

Travelers entering from the desert were confounded by what must have seemed an illusion: a great garden filled with nightingales and roses, cut by canals and terraced promenades, studded with water tanks of turquoise tile in which were reflected the glistening blue curves of a hundred domes.

The one apparent connection between the two is a score of buildings which somehow or other have survived and which naturally enough are called `` historical monuments ''.

However, just as all the buildings have not fallen and flowed back to their original mud, so the values which wanted them and saw that they were built have not all disappeared.

Author of the Albany Plan Of Union, which, had it been adopted, might have avoided the Revolution, he fought the colonists' front-line battles in London, negotiated the treaty of alliance with France and the peace that ended the war, headed the state government of Pennsylvania, and exercised an important moderating influence at the Federal Convention.

An example of the changes which have crept over the Southern region may be seen in the Southern Negro's quest for a position in the white-dominated society, a problem that has been reflected in regional fiction especially since 1865.

The 140,414 Americans who gave `` the last full measure of devotion '' to prevent disunion, preserved individual freedom in the United States from the dangers of anarchy, inherent in confederations, which throughout history have proved fatal in the end to all associations composed primarily of sovereign states, and to the liberties of their people.

We have staved off a war and, since our behavior has involved all these elements, we can only keep adding to our ritual without daring to abandon any part of it, since we have not the slightest notion which parts are effective.

The major effect of these advances appears to lie in the part they have played in the industrial revolution and in the tools which scientific understanding has given us to build and manipulate a more protective environment.

In fact, the recent warnings about the use of X-rays have introduced fears and ambiguities of action which now require more detailed understanding, and thus in this instance, science has momentarily aggravated our fears.

And if I have gone into so much detail about so small a work, that is because it is also so typical a work, representing the germinal form of a conflict which remains essential in Mann's writing: the crude sketch of Piepsam contains, in its critical, destructive and self-destructive tendencies, much that is enlarged and illuminated in the figures of, for instance, Naphta and Leverkuhn.

All such imitations of negative quality have given rise to a compensatory response in the form of a heroic and highly individualistic humanism: if man can neither know nor love reality as it is, he can at least invent an artistic `` reality '' which is its own world and which can speak to man of purely personal and subjective qualities capable of being known and worthy of being loved.

I have chosen to use the word `` mimesis '' in its Christian rather than its classic implications and to discover in the concrete forms of both art and myth powers of theological expression which, as in the Christian mind, are the direct consequence of involvement in historical experience, which are not reserved, as in the Greek mind, only to moments of theoretical reflection.