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I recently began working with oil pastels. After decades of creating highly detailed artwork with coloured pencils and acrylics, I wanted to try out a different medium that allows for greater flexibility and expressiveness, offering a complement to my traditional emphasis on realism. While my passion remains rooted in capturing realism, my oil pastel paintings reflect this focus, albeit with a different level of intricacy compared to my pencil drawings and acrylic paintings.
An oil pastel painting of a Cavalier King Charles Spaniel - click the image to view progress of this portrait.
What are Oil Pastels?
Oil pastels are a fascinating art medium that consist of vibrant pigments, non-drying oils, and a wax binding agent. Their smooth and creamy texture makes them effortless to apply and blend, allowing for seamless transitions between colours. What sets them apart from traditional pastels is their ability to remain malleable and never fully dry, allowing the flexibility to apply various techniques for blending, shaping, and creating intricate details.
Haze - Black Labrador Oil Pastel Painting on Pastelbord
Featured below is a portrait of my beloved late black Labrador Retriever, Haze. This piece holds a truly special place in my heart, marking it as the very first pet portrait I created using oil pastels. It beautifully illustrates the depth, vibrancy and character that I love about this medium. For Haze's portrait, I chose Ampersand Pastelbord, a durable, archival surface ideal for works that, like this one, are best presented simply framed behind glass, without the need for a mount or additional features.
Comparing an oil pastel painting (left) to the original photograph (right)
I find oil pastels offer incredible expressive freedom, creating artwork with both vibrant colour and a gentle way of defining shapes and textures, much like the classic allure of an oil painting. With Haze's comparison above, you can clearly see how this oil pastel painting goes beyond a simple copy of the photograph, instead highlighting and interpreting his unique features.
Storm - Oil Pastel Painting of a Yellow Labrador in a Field of Wheat
I painted a second oil pastel portrait of my much-missed yellow Labrador, Storm, specifically to hang alongside Haze's painting. Though its composition is notably different and carries a softer vibrancy, Storm's chosen stance truly complements his warm colouring and beautifully conveys the gentle nature of both him and the Labrador breed. This portrait, too, was created on the archival Ampersand Pastelbord. For their presentation, both Haze's and Storm's portraits are housed in matching wide, cream frames, complete with a protective spacer to keep the painting safely separated from the glass.
The completed portrait of Storm - An oil pastel painting of a Yellow Labrador in a wheat field
The History of the Oil Pastels
My Essential Art Supplies for Oil Pastel Painting
My oil pastel work relies on a blend of Sennelier and Caran d'Ache Neopastel oil pastels, plus a few essential blending tools and accessories. This approach enables the fine details that are difficult to achieve with pastels alone. The soft, creamy texture of Sennelier oil pastels is perfectly suited for foundational layers and impasto effects. In contrast, the firmer Caran d'Ache Neopastels excel at creating precise lines and subtle details. Occasionally, I also use coloured pencils for exceptionally fine details like whiskers or individual strands of hair.
An oil pastel painting of a Cavalier King Charles Spaniel on Pastelmat
My selection of painting surfaces depends on the desired framing presentation. I choose Ampersand Pastelbord for portraits designed to be framed similarly to traditional oil paintings, without a mount. For pieces that will be matted and framed like a pencil portrait, Pastelmat is my preferred surface. It's essential to frame all oil pastel paintings under glass, complete with a spacer, as the medium never completely dries, making the artwork vulnerable to dust and smudging.
The 'Sycamore Gap' tree oil pastel painting on Pastelmat
While I truly enjoy creating pet portraits, my oil pastel paintings aren't limited to just animals. I offer bespoke portraits of many subjects, including cherished landscapes or even people. Every piece of art I create is unique, showing different levels of expressiveness. This is one of the great things about working with oil pastels. My goal isn't just to make a perfect copy. Instead, I aim for a custom result that captures the true character and life of the subject and its surroundings, always with my own artistic touch. Interested in Commissioning Your Own Portrait?
If you're interested in a unique, custom portrait, you can find details and pricing for my oil pastel portraits on the links below. If oil pastels aren't quite what you're looking for, I also create lifelike portraits in coloured pencil and vibrant acrylic paintings. Use the links below to explore my other styles, or feel free to contact me directly to discuss your ideas!
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I recently finished an oil pastel painting of the famous 'Sycamore Gap' tree in Northumberland. This tree has been an iconic landmark in the landscape since the 19th century, as stated by the National Trust, the organisation that owns the land where it stands.
What subject could be more fitting for an oil pastel painting than the iconic Sycamore Tree beside Hadrian's Wall in Northumberland National Park? The highly abrasive Fisher400 paper enhances the application's effectiveness, creating subtle peaks of texture. The creamy texture of the oil pastels ensures the pigment spreads smoothly and quickly, culminating in a stunning impasto effect.
In this painting, my intention is to apply pastels in a deliberately loose and patchy manner, offering a unique interpretation of the subject. This method gives the artwork a distinct quality that sets it apart from my other pieces created with acrylics and coloured pencils. With oil pastels, I find I can express myself more freely, while still pursuing a degree of realism that presents a challenge, which is my primary goal in any artwork I complete.
As is the case with any form of art, the ultimate judgment of the finish of a piece lies with the viewer. Personally, oil pastels, a relatively recent addition to my artistic repertoire, rank among my preferred mediums due to their versatile manipulability and capacity for expressiveness, especially when working on larger canvases. The drawback of oil pastel artwork is its tendency to attract debris, necessitating a protective cover during non-working periods. While they mimic the polished look of oil paintings, oil pastel works should invariably be displayed behind glass when framed.
Hadrian's Wall
A little background on the tree and surrounding area
The Sycamore Gap Tree, also known as the Robin Hood Tree, is a popular attraction near Crag Lough in Northumberland, England. It stands in a dramatic dip, created by glacial meltwater, next to Hadrian's Wall and is situated within the landscape, surrounded by dramatic cliffs and rising walls. The tree gained its alternative name from its appearance in the 1991 film Robin Hood: Prince of Thieves and the music video for Bryan Adams 'Everything I do, I do it for you' a song from the film's soundtrack. In 2016, it won the England Tree of the Year award. The National Trust owns the wall and the land around the tree, a favourite spot for tourists and photographers. It is visible from the nearby Military Road and is considered one of the most photographed trees in the country, possibly the most photographed point, even in all of Northumberland National Park.
The Felling of the Sycamore Gap Tree
On the 28th of September 2023, during the chaos of Storm Agnes, the Sycamore Gap tree was intentionally felled in an act of vandalism, whilst under the influence of alcohol. In just a few minutes, the tree that had stood for nearly 150 years was cut through with a chainsaw, while the act was recorded on a phone. The felling also caused damage to the section of Hadrian’s Wall where it had stood, adding to the seriousness of the offence. After a lengthy investigation and trial, the two men responsible were convicted of criminal damage both to the tree and to the ancient wall, and each received prison terms of more than four years.
The beauty of the surrounding area of the Sycamore Gap Tree and Hadrian's wall
New growth and preservation efforts
The site itself is showing signs of resilience, with the stump sending out fresh shoots. The National Trust has also been cultivating saplings grown from the tree’s seeds, with the hope that one day they might return to the Gap. Meanwhile, a large section of the trunk has been saved and moved by crane to be displayed at the nearby visitor centre, giving people a chance to reflect on both the loss and the enduring legacy of the iconic tree.
I’ve just completed an oil pastel portrait of our black Labrador, Haze, which gave me the chance to explore a medium that has become one of my favourites. Alongside my long-standing work with coloured pencils and acrylics, I’ve come to value oil pastels for their versatility. They allow me to build rich layers of colour with a real sense of energy, while also refining them into subtle marks that bring out texture and detail. This balance between strength and delicacy makes oil pastels an ideal medium for capturing the individuality of a subject. Here I share the stages of creating an oil pastel portrait, from materials and techniques to protection during the process and the finishing touch of framing. It offers an insight for those thinking about commissioning a pet portrait in this medium. In loving memory of Haze - 03.05.23 My latest oil pastel portrait is of our much-loved black Labrador, Haze. I had always admired this photograph of him, knowing it would make a strong composition. As my first pet portrait in this medium, I was especially curious to see how oil pastels would handle the challenge of black fur, which is notoriously difficult to capture. To my delight, their blendability made the task easier than expected and allowed me to portray Haze’s silky coat with real depth and softness. Through Haze’s portrait, you’ll see how an oil pastel painting grows, from early foundations to the final frame. For my oil pastel portraits, I rely on a combination of professional-grade materials and carefully chosen surfaces. I usually work on either Ampersand Pastelbord, a rigid archival board that is simply framed with protective glass, or Clairfontaine Pastelmat, a high-quality paper designed to be mounted and framed in a more traditional style. For the pastels themselves, I favour leading brands such as Sennelier and Caran d’Ache.  An oil pastel work in its early stage, where the base is built prior to refining the details This is where an oil pastel portrait begins. The first priority is always the eyes, as their placement establishes the likeness and sets the character of the subject. Once that anchor point is in place, using the soft Sennelier oil pastels, I apply a loose base of pigment to block in the main shapes, highlights, and values. Sennelier’s soft pastels are renowned for their rich pigmentation and smooth application, perfect for layering vibrant tones and building the depth needed in fur or skin. At this stage the work looks rough and unfinished, but these early marks are essential for building structure. The background is generally left untouched until the foundational layers of the subject are established, providing a framework on which the rest of the portrait can grow.  At this stage the portrait begins to take on a more defined appearance. With the base layers established, I use the firmer Neopastels to introduce finer details, which help to define the contours of the face and body. These marks lay the groundwork for the next step, careful blending with paper stumps, which allows me to create the texture of fur, smooth out the background and sharpen the details that bring realism to the portrait. The combination of controlled pastel application and blending ensures the portrait develops depth, balance, and character.  I use a variety of blending tools, but I find that paper stumps and the smaller tortillions offer an effective and inexpensive way to soften oil pastels. I simply wipe the tips clean as I work so they can be reused, and if they become too worn or dirty they are easily replaced. More recently I’ve also introduced silicone-tipped tools, which are especially useful for creating very fine lines when blended with care.  Here is the portrait so far, with Haze keeping a watchful eye. At this stage I’ve begun to build up the background, which is now giving the piece a greater sense of depth and setting the subject more firmly within the scene. It's useful to start with a darker base layer for the background, as this provides contrast and makes the brighter tones stand out more vividly. In this case, the rich greens of the grass begin to glow against the darker foundation, adding both atmosphere and three-dimensionality to the portrait. Framing and protecting oil pastel artworks require a bit of extra care, as the medium never fully dries. I always store my finished pieces in a safe, dust-free spot until they’re ready to be framed. When it comes to framing, I recommend using glass to shield the painting from dust, pet hair, or other debris that could stick to the surface. Without glass, attempting to clean the artwork risks smudging or damaging it. When commissioning a portrait, I always provide the customer with an after-care guide, which can also be shared with your framer to ensure the piece is presented and protected in the best possible way.
A key detail in framing oil pastels on Ampersand Pastelbord, is including a spacer between the artwork and the glass. This thin strip creates a small gap to prevent the pastel from sticking to the glass, which could otherwise cause permanent damage. The spacer is discreet, barely noticeable unless you’re inspecting the frame up close, and it ensures the artwork stays pristine. For Haze’s portrait, I chose acrylic glass for its durability and lower risk of shattering compared to traditional glass. It’s a practical choice that doesn’t compromise on clarity, making it ideal for showcasing the rich textures of an oil pastel piece. For oil pastel paintings created on Pastelmat, a spacer is unnecessary because the mount serves as a protective barrier between the artwork and the glass. Oil pastels are a wonderful medium for creating heartfelt, striking portraits that truly reflect the character of your subject. Whether it’s a pet, a loved one or a cherished memory, I welcome the chance to create a portrait in oil pastels that feels both personal and lasting. If you’re interested in commissioning a portrait or would simply like to find out more about the process, please don’t hesitate to get in touch. I’m always happy to answer questions and to create something personal and meaningful. 22nd November 2015 " Hi Karen, I have just been looking at some of your work on your website and I am looking for someone to do a portrait of my dog for a Christmas present. What kind of prices do you charge please? I will attach some pictures as an idea of which one I would choose. Thank you :) " A lady contacted me about a pet portrait of her Jack Russell, Tia, intended as a Christmas present for her mum. The lady, named Justine, sent three large digital photos of Tia. While any of the three could have served as the primary reference, Justine chose the third image.
Among the photographs provided by the commissioner, there is often one that stands out. As an artist, I possess an eye for the ideal pose that I believe would result in the finest portrait. However, the customer's choice is paramount. While I can provide guidance, I always encourage the customer to select their favorite photo of their pet, the one that they feel best captures their pet's personality. This portrait will adorn their wall long after their cherished pet has passed, making the choice of reference photo crucial. My selections are based solely on composition, lighting and photo quality, which, while important, do not necessarily contribute to capturing the pet's character.
The bright blue mosaic background was too distracting and lacked any connection or significance to the family, leading to the decision to opt for a portrait without a background. If a background was required, the options are endless. Here, a cherished photo of BuBu the Boxer dog, which was captured indoors, was seamlessly merged with a photo of a nearby park, where he and his family spent countless moments together. This unique addition enriches the final artwork with personal significance and meaning. Archival qualities of my artworkJustine had a question that she thought may be trivial, yet it is a very important point to mention here. " Do the pencil pictures keep? They don't fade or anything do they? " I've spent numerous years sourcing the finest quality, archival, and lightfast art materials to ensure the durability of my portraits. The Caran d'Ache Luminance pencils I use in my coloured pencil drawings are lightfast, ensuring they don't fade like regular pencils. The colours stay vivid for over a century, and the use of archival paper additionally prolongs the life of the portraits. I always provide an after care sheet with my portraits, which offers advice regarding framing. When you take it to a framer, the glass you choose with the frame can help to add extra protection to the portrait too. This can extend the lifespan of your portrait even more. Thinking about commissioning a portrait? Take a look through the galleries below to see how the process works and browse some of my past work. You can also request a no-pressure quote or Get In Touch here. |
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No content should be used, copied or distributed in any way without express consent from Karen M Berisford