Wildflower Meadow
A tutorial for the oil pastel novice
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We have created a straightforward, step-by-step guide enabling you to create an impactful oil pastel drawing. There is no need to worry for those new to the realm of oil pastels or considering giving them a try. Despite any preconceived notions, they are straightforward to use and control. This attribute makes them a perfect medium for beginners interested in delving into the world of the oil pastel.

We will guide you in constructing your layers and selecting the appropriate colours for each area, providing maximum effect. Using a combination of visual aids and written instructions, we have broken down the process into an easy-to-follow guide suitable for any artist.​ This tutorial is designed to provide you with the knowledge and information you need to create beautiful works of art using oil pastels.

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We hope you enjoy this tutorial and should you wish to request a subject that you would like to see in a future mini tutorial, please get in touch!

The products you will need

If you're new to using oil pastels, we recommend the Sennelier Introductory Set. This contains 12 colours, which can be mixed to extend your palette. This set is reasonably priced at around £20 - £25, so it won't break the bank if you decide that oil pastels are not for you. If you are using oil pastels from a different brand, use the image below to select colours that are similar to the ones we use in this tutorial. However, precision is not crucial, and you may wish to add more colours to your painting if you have a wide range of pastels at your disposal. Support-wise, we used the UArt Dark Sanded paper 800 grade; however, you could also use the more rigid Pastelmat Anthracite, which is more widely available.

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* Textured paper   *Oil pastels   * Masking Tape
* Blending tool   * Protective paper   * Kitchen paper​

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​Paper Used: UArt Dark Sanded paper 800 grade (finest)
Oil pastel range used: Sennelier introductory set 12

Sennelier oil pastels are a high-quality art supply with a creamy texture and excellent colour potential. They're made with high-grade pigments, a synthetic binding medium, and mineral wax that won't affect the artwork's stability. Read our in-depth article here about the Sennelier oil pastel.

This dark, acid-free, archival substrate allows artists to create vibrant effects with super rich contrasts. UART Sanded Pastel Paper accepts a wide variety of wet media for underpainting without damaging the tooth. For pastel, coloured pencil and charcoal artists. Read our review of this paper here.

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The reference image

Download the original image here

You may prefer to use the transparent oil pastel to blend your colours instead of using your fingers. These pastels have the same ingredients as Sennelier oil pastels, but without the pigment. They can help blend colours smoothly and easily. Keep the tip clean between colours to avoid any unwanted mixing.

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IMPORTANT TIPS:  

• Due to their high pigmentation, a small amount of oil pastel may suffice in achieving the desired hue. Apply a higher proportion of lighter pigment than the dark ones. You can always add more if you need to.
  
• You can swap the paper blender for a transparent medium. This medium also helps to blend the pigments together without changing the colour.
  
• To avoid smudging your drawing, place a clean sheet of paper between your paper and your hand. 
  

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Timeline for preparing an oil pastel painting

• Choose your colours: Study your reference before putting pastels on paper. How many shades do you see? Compare the colours in your image with those in your palette and pick out each one. We advise using a minimal palette if you are new to a medium.
• Masking tape: To ensure that your artwork remains intact and free from smudging, it's essential to attach your paper to a sturdy board using masking tape. By doing so, you can create a neat edge that will allow you to move your completed painting around without touching the oil pastels, especially during the framing process. It's worth noting that oil pastels never dry, so taking these precautions is crucial if you want your artwork to remain vibrant and beautiful. If you work on a deep board, secure it well to a firm surface so it cannot move around during the art process. Masking tape can protect the outer edges from unwanted smudges or marks.
• ​Preparation: Create a rough outline. You don't have to be accurate. With textured paper, you don't need to apply too much pastel or be too cumbersome. You can practise on a separate piece of paper before applying any pigment on your drawing paper.

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Creating your foundations

When applying foundation layers, it is vital to apply them loosely so the colours sit unevenly on the paper. This technique will ensure that each colour does not mix during blending to create one solid block of colour. Once you've applied all the layers, blend them using your fingertips, a paper stump or a translucent blender. This will provide a smooth and natural-looking finish.

​1. Sky

To ensure the vibrancy of a dark colour, it is recommended to apply a light base beforehand. This is because a dark background has the propensity to absorb colour vibrancy. One can achieve optimal colour vibrancy by following this simple method of light base application before a dark colour.

 Stage 1. Pale Blue No.6 & Ultramarine Blue No.237

Start with the Pale Blue first, followed by a smaller amount of French Ultramarine. It is better to use minimal amounts of the darker shade and increase it if needed. Leave some areas untouched where the white pigment can be added later. Begin from the top and work down. Do not blend at this stage.

Stage 2. White No.1

To ensure the preservation of colour purity, initially introduce layers of White pigment in the untouched spaces, followed by subsequent overlap into the blue tones. To maintain colour integrity, wipe off any additional pigment from the tip of the oil pastel with a tissue.

Step 3: Blending

Once you have applied all the colours, blend them using your fingertips or a translucent blender. As you blend, work from left to right and vice versa. Allow the colours to merge and create the effect of clouds. Apply more white if the darker colours become too dominant. This technique will also give your artwork a sense of movement, making it look more dynamic and interesting.

Step 4: Second layer

When you look closely, you may still be able to see the dark surface of the paper. This can give your work an interesting character. However, if you prefer to remove the specks, you can apply a second layer of colour and blend it until the surface is fully covered. The choice is ultimately yours.​

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2. Grass

Adding the lighter colours and gradually working up to the darker shades is better. Oil pastels have high pigment concentrations, which can vary depending on the brands you use. Darker colours will overpower lighter ones, so you should use less. It is easier to add more rather than remove excess.​

Step 5: Lemon Yellow No.19 & Yellow Ochre No.26

Start by applying a light layer of Lemon Yellow over three-quarters of the paper to create a warm foundation. Then, add intermittent smudges of Yellow Ochre below the horizon line. It is important to note that choosing colours with warm undertones is essential when creating a composition with a warm colour scheme.

Step 6: Green Medium No.45 & Cinnabar Green Yellow No.42

Fill in the green areas. Start with the Cinnabar Green Yellow, then transition to the slightly darker and more subdued Green Medium. To create a sense of balance and harmony, make sure to fill in the bottom section of the paper completely with the green medium tone, allowing the colour to saturate the page thoroughly.

Step 7: Blend with fingers

Move your fingers horizontally across the paper to blend the pigments. If blending is challenging, try moving the board around for better control. Since the paper is abrasive, blending with your fingers can be difficult, especially if the layers are thin. You can use a translucent blender to make it easier, or skip the blending stage and go directly to Step 8.

Step 8: Repeat plus Burnt Umber No.34

Repeat the application process, but this time incorporate some Burnt Umber at the end to produce richer contrasts on the lower portion of the meadow. Proceed to blend. This time, you'll discover the blending process to be smoother due to the thicker layer of pastel on the paper.
COMPLETE.

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Blending Techniques

Blender Stumps & Tortillions

When working with oil pastels, it's easier to achieve the desired results with the help of tools like paper stumps and tortillions. These tools are made of tightly compressed paper, which can be cleaned with a tissue. They come in different sizes, allowing you to blend large and small areas easily. They are also affordable, so you can buy multiple packs and use them for individual colours to avoid unwanted colour transfer.

The Importance of cleaning

Exercise caution when using oil pastels to avoid unwanted colour transfer.​ We suggest removing excess colour from the pastel by gently rubbing it on a sturdy kitchen towel (thicker ones are best, as thin ones can easily tear) to prevent this. The same applies to paper stumps - simply clean the tip by wiping it on a tissue until most of the pigment has been removed.

Adding the flowers

The further down the paper you move, the larger the flowers must be. The larger the flower, the more definition. The three colours that can be used to create the poppies are Mandarin as the mid-base, the Intense Red, and the Burnt Umber for the dark contrasts.

Step 9: Mandarin No.200 & Intense Red No.220

Begin by utilising Mandarin and Intense Red hues to generate a sequence of dots below the horizon line. It's imperative to ensure that the dots aren't uniform in size or placement to lend them an organic appearance. Once the dots are in place, softly press over them with your finger while moving it from side to side to produce a hazy, blurry finish. Remove excess pastel from your finger to avoid transferring any excess pastels from your finger to unintended areas.

Step 10: Reapplication

As you add darker colours, these colours can overlap with the lighter ones that were previously applied. In such cases, simply redefine those areas for the best results. We add more Lemon Yellow and soften it with a blending stump to create a smooth finish. Remember that you can manipulate these sections at any point during the process, but it's best to avoid getting too caught up in it, especially if this is your first time with oil pastels.

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The Poppies

Step 11: Base - Mandarin  (No.200)

To create the perfect poppies, begin with the Mandarin tone for the base colour. It's essential to start with the lightest shade first and gradually add the darker tones. Loosely define each poppy, focusing on the orange tones in each flower. Instead of striving to create an exact replica of the reference, add some of your own creative flair.

Step 12: Mid-tones - Intense Red (no. 220)

To enhance the definition, add darker contrasts using the Intense Red colour. Be mindful of the smaller flowers, as they require just a tiny amount of red to not overpower the orange tones previously applied. Notably, there is no need for blending at this stage.

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Step 11: Highlights - White (No.1)

Use the White pastel to add highlights to the edges of the petals. Despite the high opacity of the white pastel, it will be softened in the next stage, which will help accentuate the shape of the petals. Remember to clean the excess pastel from the tip of the white pastel for neat and clean lines.

Step 12: Blend

Using a slender paper stump, ensure that the tip is clean and free of any debris. Take care to softly blend the edges of the white pastel until they attain a subdued hue that mingles with the red and orange tones. If you notice any surplus pastel on the tip, gently dab it onto a tissue to prevent clumps from transferring from one area to another.

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Step 13: Shading/Contrasts - Burnt Umber (No.34)

We can now begin to add in the darkest contrasts with the Burnt Umber. Such a dark pigment really only needs a gentle layer. At this stage, you will notice that the poppies are starting to appear more 3-dimensional.

Step 14: Blend & Highlight - Mandarin (no. 200)

Finalise the poppies by introducing the Mandarin tone back into the poppies. As there are already a few layers, you may find it challenging to add more. Persevere, but ensure you wipe the excess pigment from the pastel after every application to minimise the slippage.

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Cornflowers and Stalks

Step 15: Base - Delft Blue (No.203)

This time, begin with the Delft Blue, which will act as the foundation for the Cornflowers. You can create these flowers by applying individual vertical lines. It is advisable to avoid uniformity and instead create depth by utilising lines of varying sizes, with those situated further in the distance being smaller than those closest to the observer.

Step 16: Highlights - Pale Blue (No.6)

Using the Pale Blue tone, delicately apply highlights to the flower's petals. By doing so, you will bring out the intricate details of the petals while simultaneously creating a sense of depth through the contrasting blues. This will help to accentuate the flower and make it stand out even more.

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Step 17: Highlights - White (No.1)

To begin, apply some White highlights to the petals. However, using a small amount of white is essential as the petals are delicate, and too much white can dominate the other colours. This third tone will further distinguish the flowers' shape and intensify the luminosity of the scene.

Step 18: Contrasts - French Ultramarine (No.237)

Next, add the French Ultramarine pigment to enhance the flower's appearance. Apply this pigment at the base of the flower to create a bold contrast between the upper and lower parts of the flower. This stark contrast will give the cornflowers depth and shape, making them look three-dimensional.

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Step 19: Sepal - Black No.23

Use the Black pastel to create the sepal. The sepal is situated at the top of the stem and is not exposed to direct sunlight; hence, it remains in the shadows. However, it is essential to exercise caution while applying black, as over-saturation can occur with excessive use. A gentle application should be sufficient.

Step 20: Stems - Cinnabar Green Yellow No.42, Green Medium No.45, White No.1 and Paper Stump

Finish by adding the stems. Keep them as thin as possible; you may need to apply a gentle but swift line starting from the base of the grass upwards to meet the sepal. Work from dark to light with the Green Medium first, followed by Cinnabar Green Yellow. Add in highlights with the white pastel and use the blending stumps to soften the layers.

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Finally...

Continue to build up the stems until you have created as many as you feel your painting requires. The stems at the front requires far more definition than those the further back you go and you may need to soften the edges of the stems at this point so that they appear out of focus.

Before beginning a project, it's crucial to study the subject matter thoroughly. By applying tonal values effectively, you can create depth, which is as important as the details you add. We encourage you to apply our techniques for your own pastel painting while also infusing your own personal style using our demonstrations as a guide. This approach will help you produce a more unique, expressive, and captivating artwork rather than simply replicating the reference photo. The process outlined in this tutorial can serve as a helpful guide for other subjects.

If you would like your artwork featured in our on-page art gallery, we would be delighted to receive it via email.

We appreciate your interest in our tutorial. Please don't hesitate to suggest any specific subjects you would like us to cover in future tutorials. Your input will help us improve our content and deliver better learning experiences.​

​If you want to try one of our other tutorials, click HERE.

Read about the Sennelier oil pastels in our comprehensive guide.