Why I Don’t Use Paper: My Favorite Surfaces for Oil Pastel

Why I Don't Use Paper: A Key Decision in My Method

One of my most important discoveries in my career was deciding to stop using paper as my primary surface. While paper is accessible and lightweight, it has one significant limitation: it doesn’t allow me to work with the depth, pressure, or amount of material that my technique requires.

Discovering New Surfaces

Over time, I explored other surfaces like sealed wood, rigid panels, and textured boards treated with specific primers. These alternatives allowed me to:

• Apply more layers without quickly reaching saturation.
• Use spatulas and woodworking tools without damaging the base.
• Create a sense of body, volume, and visual weight that paper simply couldn’t support.
  
  

Leaving paper behind gave me freedom. It allowed me to work larger, build up impasto, scrape down, and reapply. Most importantly, it enabled me to make oil pastel behave with the seriousness and depth I was searching for. I'm not saying painting on paper isn't possible—many artists excel at it. However, my method demands a different kind of surface.

My Favorite Supports for Oil Pastel

In the oil pastel realm, paper is by far the most commonly used surface. However, years ago I decided to part ways with that tradition. My technique is built on multiple layers and friction-based effects, which demand more robust supports. In this article, I’ll share why I prefer rigid surfaces like HDF, MDF, and birch wood. Preparing my own panels has given me creative and technical freedom that paper could never offer.

The Limitations of Paper in Oil Pastel Work

While paper has many advantages—such as accessibility and lightweight formats—it quickly shows its limitations when faced with techniques involving multiple layers, complex blending, and physical manipulation.

Saturation Issues

One major issue is that paper can’t support many layers. My process starts with a thin wash diluted in rectified turpentine. This is followed by a denser second layer, and finally, a more oily application that brings out vibrant colors. I often seal between stages to continue with glazes and superimposed layers. Unfortunately, paper saturates quickly, which makes further construction impossible without damaging the surface or losing adhesion.

Friction Blending Problems

Another significant limitation is how poorly paper responds to certain effects like friction blending with fingers or scraping down. Without a firm base, it’s difficult to control the pressure or intensity needed for these techniques.

Challenges in Erasing

Erasing or correcting on paper poses its own challenges. Scraping with a knife can tear the paper, and even if you manage to avoid tearing, the surface loses all grip for further adjustments.

My Favorite Supports

Over time, I’ve developed a clear preference for rigid surfaces that better respond to the demands of my painting technique. Here are my top three choices:

1. Prepared HDF Panels (e.g., Ampersand Pastelbord)

HDF (High Density Fiberboard) panels offer an ultra-smooth and firm surface. They are perfect for fine detail and respond beautifully to pressure. I can build up multiple layers without compromising structural integrity, making them ideal for artworks where I seek both precision and strength.

"Rising Light" - Oil Pastel on Pastelbord

2. MDF (Medium Density Fiberboard)

MDF is cheaper than HDF yet equally reliable. I frequently cut it to custom sizes, seal it, and texture it based on my painting’s needs. Although it’s slightly heavier, its versatility makes it great for mid-sized works or experimental studies that often develop into more complex pieces. For longevity, I recommend sealing all faces and edges.

"Madame Nostalgia" - Oil Pastel on MDF Panel

3. Birch Wood Panels

When I pursue a more refined or "noble" base, I turn to birch wood panels. Their smooth, defect-free surface is ideal for my work. Birch wood also handles changes in temperature and humidity exceptionally well, making it perfect for pieces displayed without glass or in more demanding environments. These panels, often framed, are very affordable and easily obtainable.

"The Daughters of Edward Darley Boit (Reproduction)" - Oil Pastel on Birch Wood Panel

How I Prepare My Own Panels

Preparing my own supports plays a vital role in my artistic process. It gives me full control over texture and tooth, allowing me to customize the exact dimensions I need. I've created works up to 47" wide by 40" tall, such as my piece "The Dream". Can you imagine framing something that size under glass? The weight alone would be substantial!

My Preparation Process

Here’s how I typically prepare both MDF and birch panels:

1. Initial sanding with 320-grit sandpaper to smooth out surface imperfections.
2. Base drawing on the sanded surface.
3. Application of transparent acrylic gesso to preserve the base drawing and the support's natural color. I apply 2 or 3 coats, allowing each to dry completely. A sponge roller works best for this.
4. Optional texturing depending on the desired effect: sometimes I mix the gesso with fine sand or marble dust for a more abrasive surface.
5. Final soft sanding to balance the texture without removing it entirely.
   
   

This method is more economical than buying pre-made commercial panels. It provides me with total freedom to create without restrictions in surface or format.

The Support as Part of the Pictorial Language

To me, the support isn’t merely a surface for color application; it’s an integral part of the artwork. A well-prepared, firm panel allows greater intensity, precision, and depth in my work. It gives me the freedom to explore every possibility that oil pastel offers, without fear of damaging or overwhelming the surface.

Abandoning paper and building my own supports has been pivotal in my development as an artist. It has shaped a style that is bolder, more physical, yet still highly controlled. Most importantly, it has allowed me to think and paint on a larger scale.

These methods have worked for me, but I encourage you to experiment! As a child, I often rubbed pastel sticks on whatever surface I could find, learning a lot from those early discoveries.

I hope you find these recommendations useful. See you in the next post!