Beginner-Friendly Oil Pastel Art: A 10-minute Strawberry Painting

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Welcome to this step-by-step art tutorial, where you'll learn how to create a vibrant and textured depiction of a strawberry in oil pastels. This guide focuses on layering and blending techniques to capture the rich tones, soft pulp, and natural highlights of this juicy subject.

Are you new to oil pastels or curious about trying them but unsure where to begin? Perhaps they’ve seemed too tricky, or you’ve never considered them as a medium. In reality, oil pastels are incredibly versatile and easy to manipulate, making them ideal for beginners looking to explore expressive, bold artwork.
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This step-by-step tutorial is designed to guide you through the process, helping you create a striking drawing in just 10 minutes. You’ll learn how to:

• Build layers
• Blend colours
• Control pigment application

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With detailed instructions, supporting images, and practical tips, we break the process down into manageable steps so you can focus on developing your technique with confidence. Whether you’re picking up oil pastels for the first time or refining your approach, this tutorial simplifies the learning curve while giving you a strong foundation to build upon.

The reference image

Colour chart

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​​Materials Used for This Tutorial

To keep this tutorial simple for beginners, we’re using just eight colours—enough to demonstrate essential techniques while helping you get familiar with oil pastels. We worked with the Mungyo Gallery student-grade oil pastels on Clairfontaine Pastelmat in Buttercup, but your products don’t need to match ours exactly. Instead, select colours from your own palette that closely resemble what we’ve used, and choose a textured surface, as it makes blending easier.

• Textured paper - Clairfontaine Pastelmat - Buttercup
• Oil Pastels - Gallery/Myungo/Hashi
• ​Protective paper
• ​Blending Stump
• F Pencil​

• 244 White
• 241 Light Olive
• 228 Grass Green
• 232 Moss Green​

• 205 Orange
• 206 Flame Red
• 207 Vermillion
• 208 Scarlet

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​​​Helpful Hints & Tips

• Balanced Pigment Application – Dark pigments can easily overpower lighter tones when blending. To maintain control, apply only a small amount of dark colour alongside a larger ratio of paler tones. Begin with light layers before blending to achieve smooth transitions.
• ​Controlled Colour Build-Up – Oil pastels are highly pigmented, so a light application often provides sufficient coverage, so sections of the paper are still visible. Avoid oversaturating the surface—gradually layer colour as needed to preserve texture and blendability.
• Preventing Smudges – Keep a clean sheet of paper between your hand and the artwork to avoid accidental smudging. If stray marks occur, gently lift them with a putty rubber without disturbing the underlying layers.​
• Practice First - Practising on a separate sheet first can help you refine your approach before you start work on your portrait.

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FIND THE OUTLINE TO THIS TUTORIAL ON OUR KOFI PAGE

​Our Ko-fi page features a shop where you can download the outline and reference image for this tutorial. These outlines are completely free for our Ko-fi followers. If you're not yet a subscriber, consider joining to access all these resources at no cost or, if you prefer, you can simply screengrab the outline and print out.

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​​Using the Reference Photo

For clarity, this tutorial references key structural elements of the strawberry, such as the pulp, vascular bundles, and central pith. These names are provided to help describe the artistic process, ensuring the instructions are easy to follow.

• Pulp/Flesh – The soft, juicy part that varies in color from pale white near the center to deep red toward the edges.
• Vascular Bundles – These appear as faint streaks running through the flesh, adding to the natural gradient.
• Achenes – You may still see some seeds embedded near the surface, slightly protruding.​

• Calyx – The green leafy part at the top.
• Central Pith – The lighter core in the middle, often fibrous and slightly spongy.
• Juice Saturation – This gives the cut surface a glossy, wet look, especially where light catches the moisture.

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Stage 1 - Masking Tape

Products Used: Pencil, Ruler & Masking Tape

Before starting the outline, secure your paper to a firm support to keep it steady throughout the process. Mark out guidelines along the edges to create a reserved space for lifting the paper without touching the painting. These guidelines also help when applying masking tape, ensuring clean, crisp edges once removed. This simple step keeps your artwork neat and well-presented.​

Stage 2 - Outline

Products Used: Pencil

Start with a rough outline, keeping it loose rather than overly detailed. If preferred, you can use the downloadable outline available on our kofi page here. When working on textured paper, such as Pastelmat, light pencil pressure is all that’s needed—its surface naturally grips the pigment, ensuring the outline remains visible. As oil pastels are opaque, the initial sketch will be easily covered as you build up layers.

Stage 3 - Initial Layer

Colour Used: Scarlet (No 208)

Start with the Scarlet pastel colour. Outline the area to be filled, avoiding the area around the stalk, then apply individual strokes from the outer edge towards the centre. Use your reference as a guide for the direction of each mark. You only need to apply lightly. If you're new to oil pastels, practising the technique on a separate sheet before working on your final piece may be helpful.

Stage 4 - Second Layer & Central Pith

Colour Used: Vermillion (No. 207)

Continue with Vermillion, overlapping the Scarlet layer again using a light touch—it’s easier to build up colour than remove excess pigment. Placement doesn’t need to be precise, as blending will naturally unify the tones. Apply uneven strokes toward the centre, using the reference image as a guide, noting the variation in line lengths. Add a hint of Vermillion to the central pith to enhance depth.

Stage 5 - Base Layer Pulp

Colour Used: Flame Red (No. 206)

Next, we'll introduce warm orange tones to brighten the centre of the fruit. Using Flame Red, start at the last overlap with Vermillion, leaving a little room for the final colour in the next stage. Apply a soft, loose layer, drawing varied strokes toward the centre. When blended, these marks will provide a smooth transition between shades. Finally, add a touch of Flame Red to the central area to enhance warmth and depth.

Stage 6 - Inner Layer

Colour Used: Orange (No. 205)

Apply the Orange pastel with a light touch, adding a small amount to the centre of the fruit also. Leave a slight gap between the pulp and central pith to keep them distinct. As the pigments will naturally spread during blending, this preserves the distinction between each area. At this stage, the pigments should appear soft and uneven, with some of the paper still visible.

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Stage 7 - Inner Layer

Product Used: Blending Stump

Begin blending with a clean paper stump, choosing a size appropriate for the area. A smaller stump may slow the process, while a larger one could be less precise. Start at the lighter tones and gradually blend into darker areas to avoid oversaturation. Use gentle pressure, applying just enough force to blend effectively. Work incrementally from light to dark rather than side to side, as darker pigments tend to dominate.

Stage 8 - Blending

Product Used: Blending Stump

This image demonstrates the effectiveness of the blending stump in softening colours and seamlessly blending layers. A helpful guideline is to ensure that any remaining visible paper is fully covered with pigment. Gentle pressure is sufficient; the goal is to achieve a smooth and consistent blend in accordance with the arrows illustrated in the images. Please leave the central pith for now; we'll address that separately.

Stage 9 - Keeping pastels clean

Product Used: Tissue to clean Blending Stump

When transitioning between colours during blending, wipe the tip of your blender with a clean tissue between each use. When using the blending stump, it will pick up residual oil pastel; therefore, keep a tissue nearby to wipe the tip of the blender until most of the pigment has been removed. It may be helpful to maintain a separate collection of paper stumps for different colours; however, they still require regular cleaning.

Stage 10 - Blending Continued

Product Used: Blending Stump

When blending the central pith, gently soften the pigments using the blender, moving it vertically within the designated area as indicated by the arrows. Cease blending at the boundary of the white area, just below the stem (Calyx). Achieving a perfectly clean edge is not necessary, as this section will be refined in subsequent steps. Observe how smooth and vibrant the strawberry pulp now appears.

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Stage 11 - Vascular Bundles

Colour Used: White (No.244)

Create the internal vascular veins within the strawberry pulp, using the White pastel. Apply generously, ensuring it remains distinct from the orange and red hues. Maintain clean white lines until blending begins. After application, gently blend with a clean paper stump to soften the edges without overmixing and lightly feather the surrounding colours over the outer edge to achieve a smooth transition. Regularly wipe the tip of your pastel to prevent excess colour buildup.

Stage 12 - Pulp

Product Used: Blending Stump

As demonstrated in the previous image, carefully fill in the white pulp area beneath the stalk (calyx). Apply a light layer to avoid oversaturation. Use a clean blending stump to blend, following the directional arrows. Wipe excess pigment from the tip of the blender as needed. Blend from the darker tones, overlapping into the white area for a smooth transition. Before returning to the white area, be sure to clean the tip of your blending stump to remove any residual dark pigment.

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Stage 13 - Calyx

Colour Used: Moss Green  (No.232)

Begin by applying the Green Moss pastel. Starting with the darkest green shade helps to establish a foundation for the lighter tones. Since it is a darker color, there is no need to cover the entire area, as excessive application may overpower the lighter hues and result in a flat appearance. At this stage, use a light and loose application, focusing only on areas where deeper contrast is desired.

Stage 14 - Calyx

Colour Used: Grass Green (no. 228)

Next, incorporate an additional shade of green using Grass Green into the designated areas of your artwork that correspond to ours. Apply the colour subtly and with a light touch, ensuring the application remains gentle and understated. We will proceed with blending the pigments at a later stage; but for now, we'll focus on gradually layering the colours carefully without over-saturating the surface.

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Stage 15 - Calyx

Colour Used: Spring Green (No.241)

Complete the stem and leaves using the Spring Green hue. Carefully overlay the pastel onto the darker tones to establish a subtle and refined softness in the lines. Refrain from fully saturating the dark areas to ensure seamless blending, which will help create a sense of depth. Blending will be addressed in the subsequent steps.

Stage 16 - Highlights

Colour Used: White (no. 244)

Apply selective highlighting to specific areas using the White pastel, to create luminosity in the green tones. Given the presence of warm undertones in the stalk, a light hue such as cream would be optimal; however, the current palette of 48 colours lacks a cream shade, so we used the white pastel as a substitute. If you prefer to use a different brand for the cream, please do so.

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Stage 17 - Highlights

Colour Used: Orange (No.205)

Prior to adding the shine to the juice, use the Orange pastel to introduce subtle warm accents within the darker regions of the pulp, as well as in the central pulp. This step establishes a base for the white highlights that will be added subsequently. Employ the edge of the pastel to create fine, slightly irregular flecks, and gently soften these areas with the blender stump, taking care not to blend them completely.

Stage 18 - Juice Saturation

Colour Used: White (no. 244)

Lastly, focus on adding subtle details and accentuating the highlights within the fruit to replicate the natural shine of the juice. By gently running the side of the pastel along a textured surface, you can sand the edge to establish a sharp outline. Then, apply small, delicate lines within the flesh of the fruit. It is not necessary to soften or blend these lines; however, varying the pressure can help create a range of subtle to more pronounced highlights, resulting in a more realistic finish.

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​​​Final Thoughts & Next Steps

When you’ve finished your artwork, we’d love to see it! Send us a photo at: [email protected], we would love to feature your piece in our gallery, celebrating your unique interpretation of this tutorial. Be sure to include your name and a clear image of your final piece. 
What is kofi?

Oil pastels are a versatile and expressive medium, but quality matters and lower-end supplies can hinder your experience. Sennelier oil pastels (pronounced Senn-el-e-a) offer a soft, creamy texture, while Caran d'Ache Neopastels provide firmer control, making them a great pairing. The Mungyo Gallery oil pastels are categorised as student-grade; however, they provide an affordable option for individuals beginning to explore oil pastel techniques.

For beginners, working at large-scale is easier due to the broad strokes of oil pastels. Fine details are achievable, but focusing on intricate work too soon can be frustrating. Start with simple subjects, refine your technique over time, and experiment with additional products for texture.

Mastering pigment application is key—avoid oversaturating lighter areas, and keep pastel tips clean for crisp, opaque coverage. More than copying a reference exactly, strive to develop your own style through tonal values and depth.

​The techniques in this tutorial can be applied to many subjects, providing a strong foundation for future projects.

View Our Other Oil Pastels Tutorials

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Tutorial Updated: May 2025