Working with Oil Pastel

OIL PASTEL STICKS

Oil pastels are produced by several brands. At the budget end of the market (e.g. Pentel, Crayola, Faber-Castell), oil pastels perform a little like soft wax crayons, and I do not find them very useful or appealing so I would not recommend them. Similarly to soft pastels, higher-quality oil pastels come in a range of hardnesses, with harder pastels being most useful for detail and softer pastels best for creating painterly textures. 

I recommend the following brands:

Sennelier

• Sennelier oil pastels have a rich, unctuous and creamy texture, quite similar to lipstick in consistency. They are highly pigmented and have excellent lightfastness. They are excellent, versatile soft pastels, which offer an experience most similar to oil painting and they can be used alongside oil paints for details, highlights, and textured effects. These pastels were trailblazers for artist-quality oil pastels, developed in collaboration with Pablo Picasso in 1949. My favourite oil pastels. 
• Pricing: £2.50 per stick, £221 for a full set of 120 sticks.
  

Gallery by Mungyo

• Gallery is a pastel line made by the Korean manufacturer Mungyo, offering a higher-quality alternative to their entry level pastels at an affordable price. The Gallery line uses good-quality pigment, has good vibrancy, and is smooth to apply and easy to blend. Can be sharpened to a fine point if needed. Conveniently available in a round or square format. Lightfastness is not advertised, but seems to be generally good, although some greens and oranges are prone to fading.
• Pricing: around £28 for a set of 48. Counterfeit Mungyo Gallery pastels manufactured in China are advertised across the internet, so be wary of these (particularly if the price appears too good to be true).
  

Van Gogh (Royal Talens)

• Like the Mungyo Gallery line, Van Gogh oil pastels balance quality and affordability. They have great pigmentation and a wide colour range. They are somewhat softer than the Mungyo Gallery pastels, and don’t layer quite as well, so are best for expressive, impasto work. Lightfastness is not advertised, but seems to be good. 
• Pricing: around £30 for a set of 48

Neopastels by Caran d'Ache 

• The neopastels are distinctive in their combination of hardness, but creamy and smooth application. They are very easy to blend. The series includes a wide colour range with vibrant and intense hues. They are the hardest of the oil pastels here and the best for creating controlled, fine detail. Excellent lightfastness. 
• Pricing:  £2.70 per stick, £240 for a set of 96

TOOLS

Various tools and solvents can help with blending, creating textures, and achieving different effects. 

• Blending stumps and tortillons: These tools help blend and smooth out oil pastels, creating gradients and soft transitions between colours.
• Palette knives: Palette knives can be used to scrape, mix, and spread oil pastels, similar to techniques used with oil paint. They are excellent for creating texture and impasto effects.
• Brushes: Stiff brushes can blend oil pastels and create various textures. Soft brushes can be used for blending and smoothing. Natural or synthetic bristle brushes can be used, depending on the desired effect.
• Paper towels and cloths: Useful for blending large areas, wiping away excess pastel, or creating textured effects.
• Sponges: Sponges can apply or blend oil pastels in unusual ways, creating textured effects. Try different textures and densities for various effects.
• Cotton buds and cotton balls: For detailed blending and small area work. These are useful for smoothing out specific areas without disturbing surrounding pastel.
• Scraping tools (for sgraffito): Tools like toothpicks, needles, or the backs of brushes can be used to scrape away layers of oil pastel to reveal an underlying colour or create fine details.

SOLVENTS

• Low VOC mineral spirits: Solvents can dissolve oil pastels, allowing for smooth blending and creating effects similar to oil painting. Low VOC solvents are similar to traditional mineral spirits (such as turpentine and white spirits), but with a weaker odour and fewer dangerous volatile compounds making them more suitable for indoor use. Apply with a brush or cotton swab to blend pastels or create washes.
• Linseed oil or other drying oils: These oils can blend and extend the drying time of oil pastels, allowing for more manipulation. Creates a glossy finish and smooth blending. Can be applied with a brush or cloth (sparingly).
• Baby oil: A safe and easy-to-use alternative for blending oil pastels. Can create a smooth, glossy finish and soften the pastels for easier blending.  

SURFACES

• Paper: Smooth, textured, or pastel papers are commonly used. The texture of the paper (tooth) can greatly affect the final appearance of the artwork. Heavier papers are better for handle the layering and pressure applied during blending. Sennelier make a specialised paper designed to handle oil pastel: it makes blending very easy.
• Canvas: Primed canvas can be used for oil pastel work, providing a durable and textured surface. Canvas allows for a more painterly approach and can handle heavy applications of pastel. It is much harder to blend on canvas, but it offers interesting texture. 
• Wood panels: Prepared wood panels offer a sturdy surface that can handle extensive layering and scraping techniques. Panels should be primed with gesso to ensure the pastels adhere properly.
• Other surfaces: Surfaces like metal, glass, or fabric can be used with appropriate preparation, opening up interesting creative possibilities. I recommend using three coats of acrylic gesso to seal surfaces before using pastel sticks on them. 

Oil pastels are a versatile medium valued for their rich colours and creamy texture. A relatively new medium, their development can be credited to the need for a portable, durable, and vivid medium that combined the properties of oil paint and traditional pastels.

The origins of oil pastels can be traced to Japan in the 1920s. The renowned Japanese company Sakura first developed oil pastels in 1924 under the name "Cray-Pas," a combination of "crayon" and "pastel." These early oil pastels were intended primarily for use in schools, providing children with a medium that was both safe and easy to use. They combined pigments with non-drying oil and wax, making them more stable and less prone to crumbling than traditional soft pastels.

Despite their initial focus on educational use, oil pastels soon caught the attention of professional artists. The medium offered a new range of creative possibilities due to its unique properties. The vibrant colours, ease of blending, and ability to be used on a variety of surfaces made oil pastels particularly appealing.

A significant milestone in the history of oil pastels was their adoption and promotion by Pablo Picasso in the 1940s. Picasso, always eager to experiment with new materials, collaborated with Henri Sennelier, a French art supply manufacturer, to develop a professional-grade oil pastel. The result was the Sennelier oil pastel, introduced in 1949, which featured high-quality pigments and a buttery consistency suitable for fine art. This endorsement by Picasso greatly elevated the status of oil pastels in the art world.

Following Picasso's influence, oil pastels gained popularity among other notable artists, including Henri Goetz and Henri-Jean Closon. The medium's ability to produce both bold, impasto effects and delicate, translucent layers expanded the expressive potential for artists. 

By the mid-20th century, various companies worldwide began producing oil pastels, catering to both professional artists and hobbyists. This period saw significant improvements in the quality and variety of oil pastels available, including the introduction of student and artist grades to meet different needs and budgets.

Today, oil pastels are widely recognized and respected as a legitimate fine art medium. Advances in manufacturing have led to a broader range of colours, improved lightfastness, and enhanced blendability. Modern oil pastels are used in diverse artistic practices, from traditional landscape painting to contemporary mixed-media work.