Stephanie Neely

Cinnabar

Oil Pastel
Stephanie Neely

This time of year many of us start longing for spring and warm weather. It's especially hard for those of us living in the Midwest and upper east coast. When digit's stay in the 20's we long for green grass and perhaps a fresh blooming flower. So It's a pleasure to view Stephanie Neely's beautiful ripe roses in Oil Pastel. Her technique is realistic but very painterly. Some of her work has the look of having been painted in oil and some pieces look as though they were done in watercolor. She uses Senneliers so this could contribute to the more painted look because they are softer and creamier than most OP's. I contacted the artist and she was very gracious and wrote a couple paragraphs about her OP journey (posted below). She also wanted me to feature her flowers on my post because as she said, "They are really the culmination of my journey as an artist and represent my true love in art and in life (aside from my dear husband, of course)". That was fine by me because these were the paintings that I wanted to feature! Her other work is just as masterful. She is a Signature member of The Oil Pastel Society and has won awards and been represented by several galleries. Please check out here website here. I was really impressed with her artist's statement because she does such a good job at articulating her journey of painting and becoming the artist she is.

















Heirloom Roses
















Communion
First Prize Winner
Creative Catalyst Productions Summer Show of 2005, Private Collection


Oil Pastel was probably the last medium I thought I would ever use to create art. I used soft pastels for awhile but could not tolerate the dust, so I went back to watercolor and colored pencil. I was a practicing landscape architect and land surveyor prior to my current career as an attorney, so I am very tight in my drafting and final product. Pencils are really well suited to that goal, but I found that I could not get the rich finish that I wanted. My journey to oil pastels really began as the result of a craft project which called for the use of crayons. I thought that oil pastels might substitute well (they didn't) but it exposed me to the medium and its possibilities.

I use Senneliers exclusively. I have tried almost everything else but Senneliers are perfect for the way I paint. I love the rich colors and buttery texture. If I could have one art wish, it would be for an expanded palette of Sennelier oil pastels. My experience with application of color has been similar to that of Susan Bennerstrom, I often mix many colors to get just the right one (then I forget what I did and am forced to reinvent the wheel). I paint on 140 lb Arch Cold Pressed watercolor paper which I cut off the large rolls. Flowers and plant forms are my preferred subject matter. This may harken back to my days as a landscape designer. I live in North Carolina and make frequent pilgrimages with camera in hand to the arboretum of my alma mater, North Carolina State University, and to the Stowe Botanical Gardens outside Charlotte to capture images for painting. I also planted a large rose garden in the back yard last summer which is the source of many hours of pleasure as well as plants for painting.

The work of Joseph Raffael is my inspiration. I wish I could talk to him about his work because I feel such a kinship with him.



Thank you Stephanie for contributing!
Please feel free to make any comments or contributions to this post.

Red Pair
Oil Pastel on Panel

Susan Bennerstrom

I contacted Susan Bennerstrom recently and asked her if she would contribute a few paragraphs on what brand of OP she uses (and why) and maybe tell me a little more about her technique. She was so great and sent me this bit of info. I'm very happy to share this with you. Thank You Susan!
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It's weird, I keep buying more and more Holbeins and Senneliers because of the great range of gorgeous colors, but always end up using Caran d'Ache Neopastels almost exclusively, and the H's and S's sit there and gather dust. The Neopastels have a very limited color range, so I am forced to mix my own colors on the paper (or gessoed panel), often using as many as 10 crayons to get the color I want. I like that a lot -- it's more interesting, even though it turns out to be almost impossible to replicate a color since I don't keep track of what I've used.

Neopastels differ from Senneliers in that they are much less oily (and somewhat less oily than Holbeins), and therefore easier to control. They are "dryer," and that quality lends itself well to the kind of paintings I make, with defined edges and an overall smoothness in some areas. So Neopastels are my workhorses, and I occasionally use Senneliers and Holbeins for texture, details, and spots of color at the end. It's disastrous when I try to use them for the base layers -- they scoot around and don't adhere properly and goop up in little globs.

I rarely use mediums to mix and smooth out the oil pastels. I prefer instead to really load the pastels onto the paper (or panel) so that the pastels themselves do their own mixing. Those little rubber-ended tools ("clay shapers") are great for mixing in detailed areas, and my own fingers are the best mixing/smoothing tools. But I have found the very best technique for my way of working is to not be shy about how much pastel I put on the paper -- the more I put on, the richer and more subtle the colors get, and the more painterly the surface.

I hope this information helps!
all best,
Susan

Susan Bennerstrom

I admit that I buy a new Edward Hopper calendar every year. I have always been attracted to that spare, atmospheric and rich tonal quality. Susan Bennerstrom style is similar but I would say it has a more intimate quality. I just discovered her work about a month ago during a Internet search for anything related to Oil Pastel. I have to say my heart skipped a beat. This was a connection I was looking for in OP. I didn't think it was possible to create such realism from an OP stick. I have seen many impressionistic and abstract artist making great use of the medium but not many painting in realism. So, it was exciting to see her style. I also thought it would interesting to post this after George Shipperley as it shows a completely different and contrasting style (even down to pastel brand preference). It really does emphasise OP's versatility.
Such Beautiful paintings. She breaks down her work into categories. Stairways, Windows, Beds, Architecture and Light and Outdoors. What really impresses me is how she can create a reflective polished surface with OP as in the painting Studio Hall #4, or how she rarely uses mediums to blend the paint, just Colour Shapers and fingers. She has a very impressive history of exhibitions, teaching and awards. Please checkout her website here. Which, by the way, is an impressively designed site. Also stay tuned for more from this painter. I contacted her and she wrote a few paragraphs about OP that I will post soon!

















Studio Hall #4













Medicine
















Black Stairs

George Shipperley on Pastel Brands

Plateau
Oil Pastel
George Shipperley



I recently contacted Oil Pastelist George Shipperley to ask him to share what OP's he prefers. It's always interesting and enlightening to find out how successful artists approach their work and what kind of materials and mediums they use. He was kind enough to send a few paragraphs that I posted below.........

Regarding your request as to which oil pastel brands I prefer, the following are my preferences.

1. Holbein (best quality) they make a less expensive pastel also, but ALWAYS buy the better.

This is my favorite because of the large selection of colors and user-friendly consistency. The colors have depth and richness unlike any less expensive brand. They also last longer because they’re not too soft. It is very important to keep in mind that an inexpensive oil pastel will not provide what you the artist are capable of doing, but a quality product will fulfill that requirement. We want depth of color and richness of color, not the look of crayons which is what you get with the cheaper brands. Holbein also works wonderfully with a medium.

2. Sennelier (both the regular and the Jumbo size) the regular are much creamier than Holbein but extra rich in pigmentation with a smaller selection of colors. It is important to realize you should not apply Holbein over Sennelier but Sennelier over Holbein. Sennelier is so much creamier and works beautifully as a last layer. Of course you can use it exclusively also.

The jumbo size is incredible because it lasts longer and is less creamy. Great for large pieces and a good color selection.

You will find that all three of these suggestions are more expensive than any other oil pastel brand, but the opportunities and results will be rewarding, and that's what were after. Someone once told me to paint like you’re a millionaire and by that she meant when you cut material costs you also are cutting yourself out of a quality piece of work. LIFT THAT RESTRICTION AND YOU WILL ACHIEVE YOUR CAPABILITIES. This is one time we should not cut costs.

Thanks Mr. Shipperley.
What OP brands do you prefer? I recently found an amazing artist who only uses Caran d' Ache NeoPastels but the work is very much realism. I think it depends on your style of painting in OP. Maybe Op's with a Little more waxy filler is better for blending (with a turp?) in a realistic style. I don't know for sure but I'm going to find out!

George Shipperley

Cherry Blossoms in Door County



















October Warmth



















Winter Green

I first heard about George Shipperley in my Introductory OP class. Many great things were being said about his work and passion for Oil Pastel. In my conversations about OP with other artists in the Chicago area his name would invariably come up. He has a great influence on my current OP teacher and that influence spills out into her teaching. After I saw his work I immediately knew why. This is an artist who paints with a fresh and vibrant style. His paintings convey great feeling and sense of place. One can see the immediacy in which they were created. I had a hard time deciding which paintings to post here. Mr. Shipperley was so kind to give me permission to do so and is very enthusiastic about promoting and representing oil pastel so please check out his website here to view his online galleries. Make sure to read his artist statement. It is really inspiring and is a testimony of a true artist. I hope I get the opportunity to take a class or workshop with him. He teaches at The Fine Line in St. Charles IL. I'm working on getting an interview set up with him that I will post here. So stay tuned! What do you think of this Artist?

Second Painting

Tiffany Quail

This bird is cooked! At least for now. I don't consider this to be done but I have to put it away for a while. I just thought I would share with you. The ability to be able to rework OP by scraping back and layering over can be a blessing and a curse. I did this on Museum Board
and basically started off by drawing a light outline and then filling in with shapes. After my dark shapes were finished I started the detail. It was so challenging trying to interpret feathers and ruffles in a painterly impressionist way. I'm having the most trouble with the middle body, trying to connect it to the rest of the piece. I do feel that I'm learning more about how I want to approach painting with OP and this bird is just one more step in the right direction. Please feel free to give me any suggestions.

Maureen Mckee

Prairie Path Peddler
























Lake Lecco
























Sunflower's


I first saw Maureen McKee’s art hanging at the Dupage Art League in Wheaton, IL. She had won 2nd place for the painting Prairie Path Peddler. As with most paintings, seeing it in person is so much different and of course, better than online. At first I thought is was soft pastel. I was so impressed with her use of color, bold strokes and the elegant and expressive quality of her lines. She describes her own style as abstract naturalism. She has won many juried awards and is a member of The Oil Pastel Society, The West Suburban Artists Guild, and the Chicago Artist's Coalition. Please check out her website here
What do you think of this talented Oil Pastelist?