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

Over time, I began exploring other surfaces—sealed wood, rigid panels, and textured boards treated with specific primers. These surfaces allowed me to:

• Apply more layers without quickly reaching saturation.

• Work with spatulas or even 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, reapply… and above all, 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 do it brilliantly—but my method demands a different kind of surface.

My Favorite Supports for Oil Pastel

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

The Limitations of Paper in Oil Pastel Work

Paper has many advantages: it’s accessible, lightweight, and widely available in pastel-specific formats. But when you work with a technique involving multiple layers, complex blending, and physical manipulation of the material—as I do—paper quickly shows its limitations.

One major issue is that it can’t support many layers. My process begins with a very thin wash diluted in rectified turpentine, followed by a drier, denser second layer, and finally a more oily application to bring out the colors. I often seal between stages so I can continue with glazes and superimposed layers. Unfortunately, paper becomes saturated very quickly, making further construction impossible without damaging the surface or losing adhesion.

Another key limitation is how poorly it responds to certain effects—friction blending with fingers, or scraping down (removing upper layers to reveal what’s underneath or to create textures). Without a firm base, it’s difficult to control the pressure or intensity needed for these techniques.

Another drawback of painting on paper is when you need to erase and correct, which basically involves scraping the paint. Keeping the paper from tearing is a challenge, and even if you do, the surface loses all grip so you can make corrections.

My Favorite Supports

Over time, I’ve developed a clear preference for rigid surfaces that better respond to the physical and technical demands of my painting. These are my top three:

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

HDF (High Density Fiberboard) panels offer an ultra-smooth, extremely firm surface. They’re ideal for fine detail, respond beautifully to pressure, and allow the buildup of multiple layers without compromising structural integrity. They’re perfect for works where I seek both precision and strength.

"Rising Light" - Oil Pastel on Pastelbord

2. MDF (Medium Density Fiberboard)

Cheaper than HDF but just as reliable, MDF is one of my go-to base materials. I cut it to custom sizes, seal it, and texture it depending on the needs of the painting. Though slightly heavier, its versatility makes it ideal for mid-sized works or experimental studies that often evolve into complex pieces. For safe long-term use, I recommend sealing all faces and edges.

"Madame Nostalgia" - Oil Pastel on MDF Panel

3. Birch Wood Panels

When I’m looking for a more refined or "noble" base, I turn to birch wood panels, mainly because of their smooth, defect-free surface. Birch also handles changes in temperature and humidity very well, making it a great choice for works displayed without glass or in more demanding environments. There are panels with wooden frames that are very cheap and easy to obtain.

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

How I Prepare My Own Panels

Preparing my own supports has become an essential part of my artistic process. It not only gives me full control over texture and tooth, but also allows me to customize the exact dimensions I need. I’ve made works up to 47" wide by 40" tall (such as my piece "The Dream")—sizes that are almost impossible to find pre-made. Can you imagine trying to frame something that size under glass? The weight alone would be enormous!

Here’s my typical preparation process, which I use for both MDF and birch panels:

1. Initial sanding to smooth out any surface imperfections. I typically use 320-grit sandpaper.

2. Base drawing on the sanded surface.

3. Application of transparent acrylic gesso (to preserve the base drawing and the natural color of the support). I usually apply 2 or 3 coats, letting each dry completely. It is advisable to use a sponge roller to apply the gesso.

4. Optional texturing, depending on the desired effect: sometimes I mix the gesso with fine sand or marble dust to create a more abrasive surface.

5. Final soft sanding to balance the texture without removing it entirely.

This method is not only more economical than buying commercial panels—it gives me total freedom to create without restrictions in surface or format.

The Support as Part of the Pictorial Language

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

This technical decision—abandoning paper and building my own supports—has been key to my development as an artist. It has helped me shape a style that is bolder, more physical, yet still highly controlled. And most importantly: it has allowed me to think and paint on a larger scale.

These are the methods that have worked for me—but I encourage you to experiment! When I was a child and couldn’t afford proper art materials, I used to rub my pastel sticks on whatever surface I could find. It was fun, and I learned a lot from those early discoveries.

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