I wanted to compare a softer brand of oil pastels. The left is what I used for the last pose of the girl, Neopastels. At the right is Sennelier’s Oil Pastels. The Sennelier’s are only darker, because they’re the only colors I have at the moment. Senneliers blend more readily and look softer and fill more holes in the paper. For the purpose of rendering figures, that is what I want.
On this test I wanted to try soft on top of hard, to rough in with the Neopastels, and finish with the Sennelier’s. A is step 1, B is Step 2.
That worked well. It allows the ability to rough it in and make changes, and once satisfied to put on the finishing layer without creating a muddy mess. I will try the Sennelier’s at life drawing group once a better selection of colors in my tool box.
The oil pastel covered easily, and worked well on the sanded paper. I like it for this purpose. 19×25″ Oil Pastel on Brown Pastel Paper.
At one point I almost through this one out the window! I drew it at larger scale, and wasn’t sure if my proportions were right, because I couldn’t see what I was doing. I had sanded the paper for oil pastel, but since I thought it was a lost cause, I just took a regular dark pastel and shaded it. The surface was too smooth for regular pastel, and it made for stark shading. Worse after seeing it shaded I could see that the drawing was solid. Tomorrow I will attempt to ressurect it with oil pastel. Will oil pastel cover it?
I would like to use pastels to quickly work out designs for paintings. That is only if it’s quicker. Here I am testing oil pastels. You can’t test them without seeing how they behave on different surfaces with how you would work with them. Here I sanded Arches Watercolor Paper, it sands very nice. I put a layer of burnt sienna watercolor to darken the paper. The oil pastel seems to bond well on this paper. I like the feel of it, but soft and more blended.
These are brown Pastel Papers the top Canson and the bottom is Strathmore, left ones are sanded, and right is raw. I prefer the sanded, and the like the tooth of Canson best. I may have try the watercolor again after doing all 4 of these. I like using a pears, they’re not just round, they’re form is subtlely blockish.
I put the final touches on the drawing before the oil pastel figure. I’m not sure which way I prefer. The Conte crayon has a softness and precision. I would want to try the oil pastel on a softer paper finish before making a judgement.
I tried oil pastels on this pose, called Neopastels. The paper was a bit rougher than I liked, Canson, but the color paper was the best I had available to me at the time. I like the fine color adjustment the oil pastels allow. I like the buttery feel of the media. There are many supports possibilities I could try marking on, and many ways of fixing the surface, I can test.
This is the final on my Van Gogh Chair for the Salvage Art Auction, a charity for Habitat for Humanity. I added the sunflowers as the last. i wasn’t really sure how I wanted to to do that part. I put a tough coat of Urethane Varnish on the chair this morning. It put a nice gloss on it.
I painted the seat. It’s not simple to paint in someone elses manor. It’s easy not except the way he did this or that, in favor of your own instincts, especially in an abstracted scene. I’m on the home stretch now.
I’ve left more of the faux wood finish showing than I thought it ties everything together and it’s not as busy that way.
I finished the bottom spindles of the chair. I’ve been using acrylics, and have not had a problem with the quick drying time. Having the underpainting of faux wood has been a plus. It ties it all together and I haven’t had to fill every nook and cranny, and there are lots of them. The brushstrokes are fun to do. I can’t wait to do the seat!