Paper/Board
This section is about the papers and board that Dee likes to use. These are in no particular order as Dee uses not only pastel paper from her pads, she also uses Clairefontaine Pastelmat, Vellum Bristol Board, and Velour paper. They are all used for different things and with different pastel pencils for reasons she will list below as she talks about each paper and how they perform with pastels and pastel pencils.
Pastel Paper & Board
Strathmore Medium Vellum Board
I thought I'd found something that would work beautifully for me, but I have found that I like to put down a lot of layers of not only pastel but pastel pencils too and this board just couldn't take more than half a dozen layers. After a few layers it just wouldn't take anymore and I found it would almost start to lift the top layer of the board if you try to force more than it can take. Maybe with experience I might learn to be able to use less layers and could go back to using the Strathmore but for now this board has been put into my large sheets box to keep it clean and safe from damage.
I did find this board really lovely to work with, it was a nice solid board but with only a slight tooth I'm just not quite suited to it. For a huge sheet I found it a fair price for sure and I will certainly try this again in the future and if I just cant get the pastels right on it I'll probably try some paint on it and maybe do something huge and new for a bit of fun.
ClaireFontaine Pastelmat
This is probably the most popular paper and board that's used by pastel artists and some coloured pencil artists too.
It has a rough texture to it, if I had to describe it I'd say it feels a bit like sandpaper. Because it has such a good tooth, it works wonderfully with soft pastels and pastel pencils. You can do well over a dozen layers and keep going as long as your gentle with it and don't pack so much pastel into it to quickly.
I found that if I worked slowly ensuring each layer was rubbed into the paper I could put down a tonne of Pastel blending layer after layer and getting my piece right as it grew.
I think if I had to say there was anything wrong with Pastelmat, I would say sometimes I'd find it hard to give the portrait a smooth finish because of the tooth. My other problem with it would have to be the cost. The paper is cheaper than the board but I still found it quite expensive. As a disabled artist with no support or sponsorship from any businesses, cost is a large issue for me. If I'm creating a commission for someone I will only use the best materials which means obviously the cost goes up substantially, but its always worth it to get the best results for the customer, but when creating art just for my portfolio, the cost is much more noticeable and I'll try use something cheaper from another pastel art pad.
I do hope if I keep searching through suppliers I will eventually find something that works as a perfect substitute with a more friendly cost.
Hahnemuehle Velour Pastel Paper
This paper is probably the most different from all the other papers I have used.
It is a floppy paper and is certainly easier to use when backed onto card. The feel of this paper is probably what sets it apart from the other pastel papers as it has a suade feel to it which gives you a lovely soft surface to work on. However, I personally have found this takes the longest to get used to working with but once you do settle into using it, I've found it works just beautifully with soft pastels.
Personally when using the Velour I use Unison Soft Pastels, Jackson's Handmade Soft Pastels and other pastels alike as they glide onto the surface so easily. When using this paper you do have to rub each layer of fresh pastel into the Velour otherwise even a slight movement of the paper will dislodge a lot of the pastel losing your hard work, any pastel you've used and the time you put into creating it.
Once you find the best way for you to work on this paper I've found I get some really lovely results. I'm currently doing my first large piece on Velour and am loving every moment along with the results I'm getting. The other great thing with Velour is you can still use pastel pencils for the finer details, but the harder pencils wont work, you have to use soft lead so for me I found the Derwent pastel pencils, the CaranDAche pastel pencils and the Stabilo Carbothello pastel pencils all work on the Velour but you have to be gentle so you don't destroy the Velour, it's takes a bit of time but the results are well and truly worth it. Don't be mistaken, you won't get the super clean lines you get when using other pastel papers, because the Velour has that fuzzy texture, there's always a slight fuzziness to your work, but you can get enough layers down to make the details more than clear enough and you can get a lot of layers down in soft pastels to create a stunning piece of art as long as your gentle.
Personally for me the Velour is my favourite paper at the moment and the cost is a lot lower than other papers too which makes using this even better for me. I would advise anyone using Velour for the first time to buy a sheet of self adhesive board and fix the Velour to it so it's easier to use. I would also say don't give up on it straightaway, it does have a very different feel to it but it's worth sticking to it for a few drawings before you make up your mind.
I drew my tiges er piece on this paper and look forward to seeing how my bear turns out too.
UART Premium Sanded Paper
This paper is the most recent I've been working on. I drew a number of my frog portraits on UArt and was very pleased with texture and the durability of this material. The levels of pastel I could add per sheet were not quite as high as the Pastelmat however with careful and light applications you can still add a good amount layers.
UART Premium Sanded Paper is the only art paper on the market today to offer seven grades to choose from. Designed to provide pastel, colored pencil and charcoal artists with a consistent and reliable surface, UART Premium Sanded Pastel Paper accepts a wide variety of wet media for underpainting without compromising or damaging the tooth and you can add layer upon layer, correct and create without impairing the surface of your painting or drawing. Plus thanks to its unique sanded surface, you don't need to use any fixative on your .
Often art paper companies only offer one or two grades – UART is the only company to offer seven different grades to give you more choices in meeting your drawing and painting needs. From the rougher grade of the 240 which is ideal for the blending and layering of pastels to the finer grades that are perfect for delicate and detailed work, you can add layer on top of layer without losing tooth.
240 – the largest tooth available in a sanded pastel pape
r280 – ideal for those with a heavier hand or who want texture to show
320 – perfect for artists who desire extra layering
400 – a favorite of many professional pastel artists and ideal for those trying UART for the first time
500 – a moderate tooth for any medium
600 – perfect for those with a focus on detailed work
800 – finest tooth, popular for super fine pastel or colored pencil application
Regardless of the grade you choose, you can be sure the grade of UArt paper will hold on to your art, in spite of how many layers you apply or whether you use hard or soft pastels. There's no excess flaking and fading is eradicated, your medium will stay in place. Other papers may and do lose tooth, but UART sanded pastel paper clings to your artwork.
UART sanded art paper has the features professional, dedicated artists require. Our seven paper grades, available in a wide variety of sizes, ensure a consistent tooth and accept underpainting.
Every professional pastel, colored pencil or charcoal artist wants the same things from his or her art paper, a consistent base and a quality weight, plus a tooth with bite. UART Premium Pastel Paper is both reliable and trustworthy to deliver everything you expect every time you create.
While other pastel papers buckle under the pressure of a demanding artist, UART sanded pastel paper can handle the intensity of your creative process, protecting your work of art today and for years down the road.
Often art paper companies only offer one or two grades – UART is the only company to offer seven different grades to give you more choices in meeting your drawing and painting needs. From the rougher grade of the 240 which is ideal for the blending and layering of pastels to the finer grades that are perfect for delicate and detailed work, you can add layer on top of layer without losing tooth.
240 – the largest tooth available in a sanded pastel paper
280 – ideal for those with a heavier hand or who want texture to show
320 – perfect for artists who desire extra layering
400 – a favorite of many professional pastel artists and ideal for those trying UART for the first time
500 – a moderate tooth for any medium
600 – perfect for those with a focus on detailed work
800 – finest tooth, popular for super fine pastel or colored pencil application
Regardless of the grade you choose, you can be sure the grade of UArt paper will hold on to your art, in spite of how many layers you apply or whether you use hard or soft pastels. There’s no excess flaking and fading is eradicated, your medium stays in place as you intended. Other papers may lose tooth, but UART sanded pastel paper clings to your artwork and never lets it go.
Nothing is more frustrating than crafting your piece only to discover halfway through that the paper texture is noticeably different in spots, affecting the integrity of your work. UArt sanded pastel paper is nothing but consistent. The innovative computer controlled electrostatic coating process and standards that UArt set, ensure a reliable even grain application on every inch of the paper. You can create with confidence, knowing that your paper has the same grade from corner to corner every time you sketch or paint. I certainly noticed that the grain was very evenly spread throughout the sheets, I didn't come across any areas where the grain was missing or @ lighter in some areas than others, this made layering with my soft pastels and pastel pencils so much easier and I was very excited with the quality of UArt pastel paper and how lovely it is to work on.
Art Spectrum : Colourfix Original : Pastel Paper
The natural toothy surface of Art Spectrum Colourfix paper is a superb substrate for media such as soft pastels, charcoal and pencils. .
This paper has been hand primed and dried, as a result, it may slightly curl, however Dee works with all her work taped down to her drawing table and this usually resolves any curling of the edges. .
Paper weight: 300gsm hot pressed European watercolour paper, screen printed with Art Spectrum Colourfix Primer, making 340gsm pastel paper.
The secret that separates this board from all others is a super thin layer of Aluminum within the board that prevents warping and helps provide this substrate's lightweight and sturdy characteristics, its definitely a favourite for Dee.
Colourfix Optimum Board has a robust toothy surface that will hold layers of pastel without the need for fixative, allowing the velvet bloom and vibrant colour of pastel to be preserved. Dee really doesn't like to use a fixative as she finds it changes the colours of the pastels, for that reason she really doesn't use it unless absolutely necessary, and so far that's been once, and even then she regretted using it.
The substrate board is acid free containing no lignin's.
The glue used in this product is also acid free.