Books for Oil PastelistsWhile there are very few books on oil pastels themselves, some volumes on oil painting or pastels have sections on oil pastels. Others have techniques that can be applied to any medium or easily adapted to oil pastels.
Out of print, this hardcover volume is still available on Amazon most of the time either used or new. It's worth the price. This has the most thorough descriptions of oil pastels techniques, materials, uses and history of all. There is some rumor that Kenneth Leslie may update it and do a new edition. Recommended by every professional oil pastels artist I've met online.
The Pastel Book: Materials and Techniques for Today's Artist books pdf file
Creevy includes a substantial chapter on using oil pastels and describes the different artist grade brands in the section on materials. Many pastel techniques adapt well to oil pastels, so it may be useful in that regard too. The oil pastel sections are excellent especially for some interesting techniques using alkyd oil mediums. I will review it in more depth when I do the others.
Their oily and waxy consistency coupled with their ability, or lack thereof, when it comes to blending, forces oil pastel artists to employ unorthodox techniques and new approaches in their works.
In this new addition to the Artist's Library series, talented master artist, Alain Picard, guides the reader through an exploration of this unique medium and its myriad uses. After an introduction to tools and materials, readers will learn how to use various pastel techniques, including hatching, crosshatching, and stippling, to create depth and dimension in their artwork. Readers will also find basic information on color theory and how to use color to elicit emotion, portray mood or time of day, and suggest depth and distance. Throughout the course of the book, aspiring pastel artists will learn how to use soft and hard pastels to achieve art that is bold and intense or delicate and soft. Easy step-by-step lessons cover a variety of subject matter, including landscapes, portraits, and still lifes. Artist tips and tricks demonstrate how to blend and layer colors and create reflection, shadow, and soft and hard edges. With its breadth of professional instruction and variety of subjects to paint, Mastering Pastel is the perfect resource to start building artist proficiency in this enthralling and versatile medium.
To my pleasant surprise, both of these books demonstrated the gorgeous realism that can be achieved with artist-grade oil pastels. Just as with traditional oil paints or colored pencils, you can create strong Impressionist effects, layer colors, and re-work areas as necessary to get the fine detail of realism or hyper-realism.
Richly illustrated and covering a wide range of artists, this book does not merely give a biography of the artist and an example of his works. Its attraction lies in the fact that one painting of each artist is analyzed in detail including sequence of painting, materials and techniques used from the start to finish with some good close-ups and analysis.
This is not a book for complete beginners, but definitely a must for anyone who considers himself serious as an artist. It provides a very detailed insight into the preparation of materials, the handling of paints and reveals numerous techniques, which were employed by the great masters (not only Renaissance and Baroque, but 18 and 19th century painters and some of the impressionists). There is a separate chapter dedicated entirely to the technique of the old masters.
An array of media, as employed in different historical periods and cultural contexts, is brought under intense and diligent scructiny. A historical survey of pastel and chalk is presented alongside fascinating case studies and recommendations for transport, storage, and display. Watercolor and ink are examined through essays on individual artists such as Durer, Turner, Cezanne, and Homer, and through a brief history of paper-making. Modern materials are discussed including distemper, fluorescent paint, and ink jet printers. Challenges posed by traditional Asian art forms are explained, and considerations of the issue of fading - its measurement and prevention - conclude the volume.
ART 20 is intended as a general survey of the art of drawing for non-majors. As a studio offering, emphasis is placed on hands-on studio activities, which promote visual literacy and on the various conventions used in drawing. Students will be given the opportunity to briefly explore many of the traditional materials of drawing, including pencil, charcoal, conte, ink and ink wash, pastel, as well as experimental tools. Slide presentations, studio visits and museum critiques will augment studio exercises to facilitate a greater awareness of the cultural context in which drawing functions. As a general appreciation offering, emphasis is placed on active learning processes that involve students in basic studio materials and techniques. Since the School of Visual Arts now requires a portfolio review for Visual Arts majors to enroll in studio courses, ART 20 provides an opportunity for non-art majors to do studio work in conjunction with an exploration of art concepts.
Instruction and practice in elementary printmaking and papermaking processes. ART 40 Introduction to Printmaking (3) (GA)(BA) This course meets the Bachelor of Arts degree requirements. ART 40 is intended as a general survey of the art of printmaking for non-majors. As a studio offering, emphasis is placed on hands-on studio activities, which promote visual literacy and sensitivity to the various printmaking conventions. Students are given the opportunity to briefly explore the various approaches to printmaking, which may utilize some or all of the following: screenprinting, relief, intaglio, lithography, and others. As well, slide presentations, studio visits and museum critiques will augment studio exercises to facilitate a greater awareness of the cultural context in which the art of printmaking functions.Students enrolled in this course will be required to participate in the following active learning components:1. Studio Printmaking Assignments: a) Screenprinting b) Relief c) Itaglio d) Lithography e) Others (collagraph, monotype, electrostatic, artists books)2. Creating a social and historical context for printmaking through slide presentations, studio visits and museum critiques: a) Slide presentations: students will be asked to consider the concepts of their creative projects in relationship to prints of historical and contemporary artists in order to understand the ways in which the two-dimensional aspects and various processes of printmaking convey meaning. b) Studio visits: Students will visit the personal studios of local printmakers to learn how professional artists develop best practices as related to the basic approaches to printmaking outlined above. Additionally, they will explore and discuss with these artists the concepts expressed in their printed images. c) Museum critiques: Museum visits will enable students to learn how to engage and respond to actual prints as compared with those that they experience as slide and book/journal reproductions. The role of museums and galleries in exhibiting prints will also be discussedGrading and evaluation: Students' printmaking projects will be evaluated according to the following criteria: 1) the uniqueness of the visual concepts developed in their studio assignments; 2) the strength of their visual compositions-their ability to communicate concepts clearly; 3) the quality of their craftsmanship-an effective use of materials and procedures and commitment to the studio assignments-the effort expended on each project; 4) Their willingness to participate in critique sessions-a thoughtful and informed interpretation of visual ideas in prints produced by them in class as well as those discussed during slide presentations, studio visits, and museum critiques.
Introductory experience in making of art through painting media; designed for non-majors seeking a general overview of studio practice. ART 50 Introduction to Painting (3) (GA)(BA) This course meets the Bachelor of Arts degree requirements. ART 50 is intended as a general survey of the art of painting for non-majors. As a studio offering, emphasis is placed on hands-on studio activities, which promote visual literacy and sensitivity to the various conventions used in the discipline of painting. Students are given the opportunity to briefly explore the various approaches to creating visual images by applying various painting materials, techniques, and concepts. As well, slide presentations, studio visits and museum critiques will augment studio exercises to facilitate a greater awareness of the cultural context in which the art of painting functions.Students enrolled in this course will be required to participate in the following active learning components:1. Studio Painting Assignments: a) Visual concept development: students will be introduced to the various ways that artists create meanings through painting. b) Materials development: through a process of exploration and experimentation, students will learn how to apply various painterly media and tools in creating visual images. c) Technique development: through a process of exploration, experimentation, and skill development students will learn how to render and model painterly images that range between abstract and realistic representations.2. Creating a social and historical context for painting through slide presentations, studio visits and museum critiques: a) Slide presentations: students will be asked to consider the concepts of their creative projects in relationship to paintings by historical and contemporary artists in order to understand the ways in which the two-dimensional aspects and various processes of painting convey meaning. b) Studio visits: Students will visit the personal studios of local painters to learn how professional artists develop best practices as related to the basic approaches to painting outlined above. Additionally, they will explore and discuss with these artists the concepts expressed in their painted images. c) Museum critiques: Museum visits will enable students to learn how to engage and respond to actual paintings as compared with those that they experience as slide and book/journal reproductions. The role of museums and galleries in exhibiting paintings will also be discussed.Grading and evaluation: Students' painting projects will be evaluated according to the following criteria: 1) the uniqueness of the visual concepts developed in their studio assignments; 2) the strength of their visual compositions-their ability to communicate concepts clearly; 3) the quality of their craftsmanship-an effective use of materials and procedures and commitment to the studio assignments-the effort expended on each project; 4) Their willingness to participate in critique sessions-a thoughtful and informed interpretation of visual ideas in paintings produced by them in class as well as those discussed during slide presentations, studio visits, and museum critiques. 2ff7e9595c
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