Ghyll Force Farm by Tim Fisher

Oil pastels are pigments in a binder of oil and wax, and are not to be confused with chalk pastels, which are quite different. When deciding which brand to use, be aware that they can vary in quality. The more economical brands tend to be hard and waxy, and can be limiting when creating artwork. I have used this medium for a number of years now, and find that Sennelier oil pastels give the best results every time and  f it my requirements perfectly. 

Oil Pastel's History

Sennelier oil pastels have quite a pedigree. Henri Goetz and Pablo Picasso would sometimes outline their studies in oil pastel, but both were aware of the medium’s limitations. Henri decided  to approach art materials’ manufacturer, Henri Sennelier, with a request on  behalf of his friend, Pablo Picasso. 

Picasso’s request was for a stick that could be painted freely onto any unprepared surface he desired. Spurred on by this, Henri designed a professional oil-based stick that was to become the oil pastel we know today. The new idea was adopted immediately by Picasso and the oil pastel would go on to be produced in 48 different colours. This was during Picasso’s grey period so part of his requirement was that there should be ten shades of grey or neutral colours. These new Sennelier oil pastels were superior  to any pastels produced previously.

Today, Sennelier oil pastels have retained their soft lipstick-like quality that allows for ease of blending and colour mixing. Working with fine detail or creating sharp edges can be problematical, but I’ll explain later in this feature how this can be achieved when creating a painting. 

Picasso asked for a medium that could be painted onto any surface, including raw wood, metal, corrugated cardboard, plastic and paper. I have experimented on different surfaces with very pleasing results. I tend to favour the rougher textures and like working on Loxley canvas board. Rough-textured oriented strand board (OSB) and oil pastel also work well together. The texture of the surface grips the pastel well and can be easily blended with fingers once applied. 

Oil Pastel Techniques

If you’re new to oil pastels, then the working process needs to be explained a little. Pastels tend to pick up other colours when working and should be wiped frequently with a tissue. The pastels will get too warm if held for long periods in the hand, or if working out-of-doors in sunny weather. I usually overcome this by laying my materials on a large flat ice pack to keep them chilled.

Choosing colour with oil pastel is a personal choice and with 120 Sennelier colours to choose from, can be daunting when starting out. The colours that work for me are: royal blue, mummy, Payne’s grey, reddish brown grey, yellow ochre, burnt umber, violet grey, cold grey, light grey, yellow deep, luminous yellow, lemon yellow, olive green, sap green, moss green and white. I have worked from this range of colours to paint  a subject within the Langdale Valley  in Cumbria (see demonstration right). This is an area in which I have spent plenty of time and I never fail to find  an abundance of painting subjects.

Get your Sennelier Oil Pastels today