UArt Premium Sanded Pastel Paper Tial Pack

Product Information

I still have some Wallis and do like it. I’m sure Kitty will get the manufacturing sorted out eventually. But the demand always exceeded the supply. She added a new color the last time it was available, a variation on Belgian Mist that was warmer. An additional upside to this is that you do not have to frame sanded art paper under glass if you don’t want to. It’s advisable, but not absolutely necessary, as is the case with traditional art papers. Detailed Line Drawings

Some artists will prefer buying pastel boards that come mounted, rather than mounting themselves. It feels logical to work with a board propped at an easel with soft pastel, as dust will fall beneath the easel rather than smudge across the drawing. Best paper for coloured pencils With pure sanded paper or even Pastelmat, when gliding the pencil across the surface, on occasions it feels like particles or grit from the surface gets caught between the pencil core and paper surface, which causes minor scratches. Of all the testing I completed with the Lux Archival, nothing at all like that happened and I am not in any way putting down the other papers, they all have their own wonderful qualities and places in the art world, but the Lux Archival is really special. Lux Archival Testing The panels are archival, museum quality and coated with gesso and ground marble dust. Pastelbord panels have an excellent tooth to them, which grip on to pastel and pencil better than the ingres and honeycomb textured papers on the list. This board can also be used with mixed media and wet media techniques, it’s suitable for use with acrylic and casein too. UART Pastel Paper Larger makes bigger prints. I don’t recommend making prints any larger than the artwork, even if you take a photo with a camera that gets a huge file size. Artwork doesn’t looks good blown up larger. If your artwork is larger, you can print large or small and the prints will look good. Smaller art limits your print size.Velour papers like Hahnemühle Velour have a soft velvety feel to them. They are the most expensive type of paper. It’s a wonderfully unique paper, that has the softest texture. If you want to create out of focus effects and be suggestive with textures, velour would be a great option. Sanded papers like Pastelmat shine in their ability to accommodate sharp details, but with velour paper, artworks will look soft in appearance. The coating of soft fine polyester fibres is applied with glue that is not water or alcohol-resistant, but it is possible to apply neat gesso to its surface with a light touch. It holds pastel well – the harder the pastel the more colour it will hold – and very little dust is produced. It is difficult to erase marks from its surface and it is easily creased so should be handled with care. The contrast between the soft fur-like surface of velour with the chalkiness of pastel allows pastel marks to really ‘pop’. This surface is an excellent choice for those who want their pastel surface to come mounted, ready for framing. The board is extra sturdy, meaning you can work at an easel, with the board propped upright, without having to undertake the extra step of mounting. This is especially useful for mediums like soft pastel. Above image, from top: Canson Mi-Teintes Touch, Clairefontaine Pastelmat, Art Spectrum, Colourfix, Fisher 400

However, you are not bound to just these types of paper as there are other options that are mentioned in this list that are just as affordable. Do I need special pastel papers for soft pastels? Finally I used the magentas of the Derwent Lightfast blend and in this particular blending test I used a paper blending stump. Now I personally would not use a paper blending stump on conventional paper like bristol smooth, velum or watercolor paper, simply because the paper to paper friction does not in my opinion work that well. On the Lux Archival paper however the result are very different and a paper blending stump is an excellent blending method on this paper. Pastel TestingThere is a constituent of having too many options but whatever is given in this review should help you narrow things down to what you need at the end of the day. I found that a detailed drawing is unnecessary with this paper because of the difficulty of transferring an image by traditional means. So I sketched a basic landscape and then began shading the shapes, working throughout the composition to build color. For strongest smudge protection I like Daler-Rowney Perfix, but it is so strong that you will need to coat lightly to not make your darks darker and your whites transparent. My final work was completed with applications of Yellow Chartreuse, Jasmine, Limepeel, Olive Green, Dark Green and Indigo Blue. I applied the heaviest pressure (8 to 10) to the tree, its cast shadow and the sunlit areas around the shadow. This helped create the look of bright sunlight. I also used a glaze of Dark Brown to tone down some of the areas, and “tapped” White into the sunlit portions of the tree to finish it off.