I thought I would address how to paint hair (in this case a horse’s coat) with oil pastels. I plan to also blog about doing horse hair in water soluble pencil in the near future. I tend to work with oil pastels in a more impressionistic way, than I do in water soluble pencils. So creating a fur coat is less about putting in every little hair and more about directing line and color to achieve the visual effect of hair. I took a few WIP (work in progress) shots of my current painting for illustration. (I apologize for the lousy dark photos. I am still new to using Mike’s digital camera.) Since I am a sectional painter, (meaning, I like to work on one small area at a time and finish it, before moving on) the photos are of a small section of the whole painting.
To begin with, I need to have a fairly comprehensive drawing. Oil pastels stain my substrate (which is 100% cotton rag museum board) so I need to have a good idea of what I am placing where, to avoid complications from having the wrong color in the wrong place. It is possible to scrape off a certain amount of color, but in general it wouldn’t work to have too great a color shift. The underlying stain would show through any similar value color as well as anything lighter, placed over the top.
Also, I don’t use turpenoids for blending. You get can get some great effects with turps. Like subtle blending or for painting with a brush. However, I love the mark making that using the straight oil pastel gives. I rely on laying color next to color to achieve my goals. Nearly all of my blending is done with the pastels themselves.
First Thing: I do is lay in my darks. In this case, black and darkest grays. Though it has a random scribbley look to it. I lay my lines in the direction that the horse’s hair coat runs.
Step Two: I add the mid-tone ranges of grays. I also add the periwinkle and ginger colors now. (one of my favorite color combinations) In this applications the gingers add warmth and the periwinkle provides pop.
Step Three: This is where I put in the lightest grays, creams and sparingly … white. White, much like black, when used in excess can make a painting look flat and lifeless. However when used properly, you can achieve great contrast and highlights. Some blending and overlay is good. Too much though and you’ll have mud.
Lastly: Go back in and do whatever needs to be done. Often this is re-establishing the darks, if they get blended out too much. In this painting I added royal purple in my darks to again add zing. Also, there are always little bits of board showing through where I didn’t get the colors completely blended. So I rub these out using a shaping tool or my finger. Then I move onto the next section.
I have been working with oil pastels for a couple of years now. At this point, a lot of what I do is almost done without thought. Working quickly, I just let the creative energy flow through me while I put in colors. Then at some point I just realize that it is done. It looks like it is supposed too. Anyway, that is how it is supposed to happen (when the stars are aligned and all is right in the heavens.) Sometimes, I can work it and work it and it still doesn’t come out right. Then, the wisest course of action is to either stop for awhile or move on to a completely new area. That is what I did with this painting. The left hand dark horse hasn’t worked out the way I envisioned it. So, I moved on to the gray horses. Now that I am happy with them, I feel more confident to go back in and rework the dark horse.
In the next few days, I will cover oil pastels further. What they are, where you can get them and offer some tips for using them.
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