Óleo-Pastel 2; Plástica y Aplicación.

This video, following the previous one (   • Óleo-Pastel 1; Características.  ) that showcased the characteristics and peculiarities of oil pastels, will focus on illustrating the direct application of the material onto a gray-toned Canson "My Teintes" paper using a photograph of two simple fruits. It reinforces the representational process, emphasizing the correct use of color, tonal value, and atmospheric perspective. Furthermore, to exemplify the use of the material on a hard surface, I use a simple photograph of a potato, demonstrating the effectiveness of applying this technique directly to a lightly sanded sheet of mahogany plywood. For this demonstration, I use a set of 24 oil pastels from the Japanese brand "MINISO," marketed under the name "Oil Painting Stick." Oil pastels are a poorly understood and often overlooked material, frequently confined to the school setting, despite possessing a potential for artistic expression that should be appreciated for its inherent beauty. It's a material that's confusing from its very name, "OIL-PASTEL," when it's neither strictly oil nor pastel. Its true classification lies with "WAX" materials, from which it's distinguished by its oily component, making it dilutable with turpentine. Furthermore, the chemistry of these techniques now offers the possibility of dissolving it with water. Despite its long history, the material called Oil-Pastel isn't widely used and its terminology leads to confusion. It originated in 1924 in Osaka, Japan, with the intention of facilitating the use of colored waxes in a less restrictive and more creative educational setting. The company "Sakura Cray-Pas" developed a pigmented wax in stick form with increased viscosity by adding coconut oil. The evolution of the material led to its application in the visual arts when Pablo Picasso convinced the French manufacturer Sennelier, who in 1947 produced a high-quality version for professional art use. At the heart of all colored materials lies a fundamental ingredient: pigment. In its simplest form, this pigment is found in pastels, which contain only gum arabic as a binder. Thus, chalks, in their diverse combinations, are an example of this pigmented material, which, in varying densities and qualities, is known as pastel. Waxes, however, are pigments condensed with wax and presented in stick form. It is essential to understand the wide variety of wax paints, also called crayons, which is derived from the French word "crayon," meaning "stick" or "pencil." A related product is colored pencils, which have been developed to be water-soluble, as have wax paints, which are designed to be watercolor-compatible. Oil pastels are wax-based materials with an added oil component. However, this wax is mixed with non-air-drying oil, which is distinct from the linseed oil component of oil paint, which dries by exposure to air. Therefore, they are not oil paints, although they are oily… which makes them easy to dissolve with turpentine or mineral spirits, although there is already a version of CRETACOLOR “AquaStic” on the market that is a watercolor-compatible oil pastel. It should be noted that when using water or mineral spirits to dissolve wax or oil pastels, it will require choosing a suitable surface for the technique. In the case of water, this is “Watercolor Paper” or similar papers that can withstand wet application. And in the case of mineral spirits, it will be a less absorbent, more satin-like paper surface, allowing the thinner to remain on the surface until it evaporates. Certain Schoeller brand papers, sulfated cardboard (SBS Solid Bleached Sulphate paper), or coated paper can be used. Oil pastel, due to its viscosity and adhesion, can be applied directly to a wide variety of papers, cardboard, and canvas with satisfactory results, even on rigid surfaces such as wood, metal, and glass. Background Music: “Assembled Soliloquies,” Ramón Almela