Prismacolor NuPastels: A Complete Guide to The Versatile Hard Pastel
Introduction
Prismacolor NuPastels occupy a slightly unusual place in the world of pastel drawing. They are neither as soft and painterly as traditional soft pastels, nor as firm and restrained as harder chalk pastels. Instead, they sit somewhere in between, offering a balance of control and pigment that appeals to a wide range of artists, from beginners learning the basics to more experienced users looking for a reliable sketching or underpainting tool.
Part of their appeal lies in that versatility. They can be used for quick studies, more detailed line work, or as a foundation beneath softer layers, depending on how they are handled. At the same time, that middle-ground quality can also lead to uncertainty, particularly for those trying to decide whether they suit a specific style or way of working.
This article takes a closer look at how NuPastels actually perform in practice, covering their key characteristics, how they behave on paper, where they tend to work best, and where they may fall short. The aim is not to oversell them, but to give a clear, grounded understanding so you can decide whether they fit what you need.
Part of their appeal lies in that versatility. They can be used for quick studies, more detailed line work, or as a foundation beneath softer layers, depending on how they are handled. At the same time, that middle-ground quality can also lead to uncertainty, particularly for those trying to decide whether they suit a specific style or way of working.
This article takes a closer look at how NuPastels actually perform in practice, covering their key characteristics, how they behave on paper, where they tend to work best, and where they may fall short. The aim is not to oversell them, but to give a clear, grounded understanding so you can decide whether they fit what you need.
Overview of Prismacolor NuPastels
Key Features
Prismacolor NuPastels are a professional-grade firm pastel (often referred to as a "hard pastel") that has been a studio staple for decades. Unlike traditional soft pastels, which can be crumbly and fragile, NuPastels are compressed into a dense, square stick. They are made from high-quality pigments combined with a higher ratio of binder than you would find in a "buttery" soft pastel. This structural integrity is what defines the product. In terms of texture, they are noticeably firmer than soft pastels. They are robust enough to withstand significant pressure without snapping, yet they are formulated to release colour smoothly onto a variety of surfaces to produce cleaner edges and more controlled marks.
While they are often associated with the initial "blocking-in" phase of a painting, their precision makes them a standalone tool for many illustrators and portrait artists. This makes them particularly useful in the early stages of a drawing, when establishing form and proportion is the priority. The pigment load is generally strong, though not as immediately rich or velvety as softer alternatives. Rather than depositing a heavy layer in one pass, NuPastels build up more gradually. Essentially, they occupy the middle ground between the micro-precision of a pastel pencil and the bold, painterly application of a soft pastel.
While they are often associated with the initial "blocking-in" phase of a painting, their precision makes them a standalone tool for many illustrators and portrait artists. This makes them particularly useful in the early stages of a drawing, when establishing form and proportion is the priority. The pigment load is generally strong, though not as immediately rich or velvety as softer alternatives. Rather than depositing a heavy layer in one pass, NuPastels build up more gradually. Essentially, they occupy the middle ground between the micro-precision of a pastel pencil and the bold, painterly application of a soft pastel.
Another notable characteristic is the reduced level of dust they produce compared to softer pastels. While not completely dust-free, the lower amount makes them easier to manage, especially during longer sessions or in more confined spaces. Overall, their design and behaviour make them best suited to controlled, structured work rather than highly blended, painterly effects. They are often used on their own for sketching and studies, or as part of a broader workflow with other pastel types.
Pro's & Con's
Prismacolor NuPastels have a very specific feel and working style, so it helps to understand both their strengths and their limitations before deciding whether they suit your technique. Below is a clear breakdown of the main advantages and drawbacks to give you an honest sense of how they perform in real use.
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Pros
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Cons
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Are NuPastels suitable for beginners?
NuPastels are frequently recommended as a sensible entry point for those new to the medium, primarily because their physical nature is very beginner-friendly. Most newcomers find the "pencil-like" firmness of a hard pastel much less intimidating than the crumbly, almost uncontrollable texture of a professional soft pastel. They allow for a degree of precision that helps a beginner feel more in control of their mark-making, and because they produce far less dust, the initial learning process is much cleaner. There is also the benefit of durability; a beginner’s heavier hand won't immediately shatter a NuPastel, whereas a softer stick would likely disintegrate under the same pressure.
However, using these sticks effectively requires a bit of restraint. The firmness that provides control can also lead a beginner to press too hard, which can seal the paper tooth prematurely. Once the paper surface is flattened by heavy pressure, it becomes slick, and no further layers of colour will stick to it. Learning to build up pigment through light, patient layers rather than brute force is the primary hurdle for any beginner using this medium. It is also worth noting that because these are now almost exclusively sold in sets rather than as individual sticks, a beginner needs to be slightly more mindful of their palette. Since you cannot easily replace a single colour once it is worn down to a nub, learning to mix and layer the various shades within a set becomes an essential part of the learning curve from day one.
However, using these sticks effectively requires a bit of restraint. The firmness that provides control can also lead a beginner to press too hard, which can seal the paper tooth prematurely. Once the paper surface is flattened by heavy pressure, it becomes slick, and no further layers of colour will stick to it. Learning to build up pigment through light, patient layers rather than brute force is the primary hurdle for any beginner using this medium. It is also worth noting that because these are now almost exclusively sold in sets rather than as individual sticks, a beginner needs to be slightly more mindful of their palette. Since you cannot easily replace a single colour once it is worn down to a nub, learning to mix and layer the various shades within a set becomes an essential part of the learning curve from day one.
This leaf was completed simply by applying one colour directly over another - a highly effective way to blend NuPastels
Quick Tips
- The Ghost Smudge: If you find your highlights are looking muddy, it’s usually because of pigment migration. Use a drafting brush or a clean, dry cloth to gently flick away loose dust rather than blowing on it (which introduces moisture).
- Flaking: If the pastel is flaking off the page, you have likely oversaturated the paper. The tooth is full. You can sometimes remedy this by applying a light coat of workable fixative to reset the surface, giving you a bit more grip for one or two final layers.
- Hard Spots: Occasionally, a stick may have a small, hard nib of binder that scratches the paper. Simply rub that side of the stick against a piece of scrap paper or sandpaper to remove the grit.
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How do NuPastels differ from other pastels (soft, oil, and pastel pencils)?
Understanding where NuPastels sit in the dry media hierarchy is essential for getting the most out of your kit. They are frequently confused with other mediums, but their chemical and physical properties are distinct:
- Vs. Soft Pastels: Soft pastels contain the bare minimum of binder, making them dusty and brilliant for large, expressive blends. NuPastels are much harder and produce significantly less dust. While you can blend a NuPastel, it won't "smear" as far or as easily as a soft stick.
- Vs. Oil Pastels: These two are entirely incompatible. Oil pastels are made with a non-drying oil and wax binder. NuPastels are a dry, chalk-based medium. They cannot be mixed, as the dry dust will not adhere to the oily surface of an oil pastel.
- Vs. Pastel Pencils: While both tools excel at detail, NuPastels are far more efficient for covering large areas. The broad side of the stick allows for heavy sweeps of colour that remain workable on the page, easily blended with a stump or shaper to create soft transitions. Pastel pencils, by comparison, are much more rigid and better suited for fine, linear precision than for broad coverage.
What blending and layering techniques work best?
NuPastels are celebrated for their active pigment, meaning that even though the sticks are firm, the colour remains movable on the paper. However, because they contain more binder than soft pastels, they require a slightly different approach to layering.
The "Hard over Soft" Rule
In the pastel world, the general rule is to work from hard to soft. NuPastels are excellent for the initial block-in because they don't fill the tooth of the paper too quickly. If you try to layer a hard NuPastel over a thick, buttery layer of soft pastel, the hard stick can act like a scraper, actually removing the pigment underneath. For the best results, use NuPastels for your layout and middle layers, saving the softest pastels for the final, vibrant highlights.
Blending 'Stick-on-Stick'
Applying one colour directly over another is a highly effective way to blend NuPastels without the need for external tools. This method relies on the firm texture of the sticks to physically intermix pigments within the grain of the paper, allowing new shades to be ground into the layers beneath to create smooth transitions. The success of this technique is most evident on high-tooth surfaces like Pastelmat, where the micro-abrasive texture holds significant amounts of pigment and allows for heavy layering. This approach also maintains colour vibrancy better than traditional blending, as it avoids the dulling effect that often occurs when crushing the pigment with a stump or finger.
The "Hard over Soft" Rule
In the pastel world, the general rule is to work from hard to soft. NuPastels are excellent for the initial block-in because they don't fill the tooth of the paper too quickly. If you try to layer a hard NuPastel over a thick, buttery layer of soft pastel, the hard stick can act like a scraper, actually removing the pigment underneath. For the best results, use NuPastels for your layout and middle layers, saving the softest pastels for the final, vibrant highlights.
Blending 'Stick-on-Stick'
Applying one colour directly over another is a highly effective way to blend NuPastels without the need for external tools. This method relies on the firm texture of the sticks to physically intermix pigments within the grain of the paper, allowing new shades to be ground into the layers beneath to create smooth transitions. The success of this technique is most evident on high-tooth surfaces like Pastelmat, where the micro-abrasive texture holds significant amounts of pigment and allows for heavy layering. This approach also maintains colour vibrancy better than traditional blending, as it avoids the dulling effect that often occurs when crushing the pigment with a stump or finger.
Blending Tools
While many artists use their fingers, the natural oils from skin can eventually transfer to the support and compromise the archival quality of the work. For the dense pigment of NuPastels, blending stumps or silicone colour shapers are often more effective for detailed work. Stumps allow for precise compression of the pastel into the paper grain, while silicone shapers act almost like a firm brush to move colour without absorbing any of it. Specialised blending sponges are also a popular choice for covering larger areas, though caution is required with lower-quality versions. Inexpensive, coarse sponges can be too abrasive, often rubbing the pastel off the paper entirely rather than smoothing it.
Liquid Blending
NuPastels are water-soluble. You can apply a layer of dry pastel and then use a wet brush or a sponge to turn it into a wash. This technique is perfect for under-paintings, as it fixes the first layer of colour to the page, allowing you to layer dry pastel over the top without the colours becoming muddy.
While many artists use their fingers, the natural oils from skin can eventually transfer to the support and compromise the archival quality of the work. For the dense pigment of NuPastels, blending stumps or silicone colour shapers are often more effective for detailed work. Stumps allow for precise compression of the pastel into the paper grain, while silicone shapers act almost like a firm brush to move colour without absorbing any of it. Specialised blending sponges are also a popular choice for covering larger areas, though caution is required with lower-quality versions. Inexpensive, coarse sponges can be too abrasive, often rubbing the pastel off the paper entirely rather than smoothing it.
Liquid Blending
NuPastels are water-soluble. You can apply a layer of dry pastel and then use a wet brush or a sponge to turn it into a wash. This technique is perfect for under-paintings, as it fixes the first layer of colour to the page, allowing you to layer dry pastel over the top without the colours becoming muddy.
What surfaces and papers work best with NuPastels?
Because NuPastels are firm, they require a surface with enough tooth (texture) to shave the pigment off the stick. If you use a paper that is too smooth, such as a standard printer paper or a hot-pressed watercolour paper, the pigment will simply slide across the surface without adhering.
Sanded Papers
For professional results, sanded papers (like Pastelmat, Colourfix or UArt) are excellent. The grit acts like a file, pulling the pigment from the hard stick. This allows for multiple layers without the surface becoming slick. As little pressure is required on gritty papers like Pastelmat, they grab the pigments well, making the colours more vibrant than smooth papers will.
Ingres and Canson Mi-Teintes
These are the most common choices for NuPastel users. These papers have a distinct texture, often a honeycomb or a line pattern, that traps the pastel dust. NuPastels perform beautifully on these because you can use the hard edge of the stick to draw into the texture or the flat side to lightly skim across the top of the grain.
Toned Supports
NuPastels are semi-opaque. Working on a mid-toned grey, tan, or navy paper allows the colours to pop more effectively than they would on plain white. Since these pastels are often used for under-paintings, starting on a toned surface gives you a head start on your values.
Sanded Papers
For professional results, sanded papers (like Pastelmat, Colourfix or UArt) are excellent. The grit acts like a file, pulling the pigment from the hard stick. This allows for multiple layers without the surface becoming slick. As little pressure is required on gritty papers like Pastelmat, they grab the pigments well, making the colours more vibrant than smooth papers will.
Ingres and Canson Mi-Teintes
These are the most common choices for NuPastel users. These papers have a distinct texture, often a honeycomb or a line pattern, that traps the pastel dust. NuPastels perform beautifully on these because you can use the hard edge of the stick to draw into the texture or the flat side to lightly skim across the top of the grain.
Toned Supports
NuPastels are semi-opaque. Working on a mid-toned grey, tan, or navy paper allows the colours to pop more effectively than they would on plain white. Since these pastels are often used for under-paintings, starting on a toned surface gives you a head start on your values.
Related articles that may be of interest
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Royalty-free images available for purchase and download from our Kofi store
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How lightfast and permanent are NuPastel colours?
For many artists, the primary concern with any professional medium is how it will withstand the passage of time. The NuPastel range consists of 96 colours, but unlike some high-end European brands, Prismacolor does not print individual lightfastness ratings on each stick, and it is important to note that lightfastness is not uniform across the entire set. Generally, the earth tones, ochres, sienna, and umbers, demonstrate excellent archival stability. However, as is common with many pastel brands, the brighter pinks, purples, and certain blues can be more prone to fading when exposed to prolonged UV light.
If you are creating professional work for sale, it is wise to consult a lightfastness chart or conduct your own window test by exposing a sample strip to sunlight for several months and ensure that finished works are framed behind UV-protective glass. Florida artist Rick Petersen’s independent lightfastness test is well worth checking out. While home-based tests are naturally less clinical than professional lab assessments, for most artists, it provides all the information needed to understand which hues are solid and which ones are more sensitive to light. It’s a very practical way to see how the palette performs over time.
If you are creating professional work for sale, it is wise to consult a lightfastness chart or conduct your own window test by exposing a sample strip to sunlight for several months and ensure that finished works are framed behind UV-protective glass. Florida artist Rick Petersen’s independent lightfastness test is well worth checking out. While home-based tests are naturally less clinical than professional lab assessments, for most artists, it provides all the information needed to understand which hues are solid and which ones are more sensitive to light. It’s a very practical way to see how the palette performs over time.
Recommended sets, sizes, and buying tips
Sets vs. Singles The range is typically available in sets of 12, 24, 36, 48, and the full 96. Historically, artists could buy individual open stock sticks to replace the ones they used most often (like White or Black). However, Prismacolor has largely moved toward a set-only model. While the company hasn't issued an official statement, the move from individual sticks to set-only sales reflects broader logistical and economic shifts in the industry. Shipping fragile open stock from North America to the UK is costly and prone to breakage. For retailers, managing 96 separate inventory lines offers low margins compared to the efficiency of a boxed set. By focusing on sets, the manufacturer streamlines production and avoids the overhead of tracking and replacing damaged loose stock and finding individual sticks is now exceptionally difficult.
Buying Tips:
The Open Stock Workaround
Since art shops no longer stock single NuPastel replacements, planning ahead is necessary. If a specific colour like White, Black, or a particular Terracotta is used up, it is not always required to purchase an entirely new set. These can be supplemented with individual sticks from compatible brands like Cretacolor Pastels Carré or Koh-I-Noor Gioconda. These brands still support individual sales and have a similar firm texture that integrates seamlessly with an existing collection.
Buying Tips:
- The 24-Piece Set: A good taster set, but it lacks the subtle greys and earth tones needed for realistic work.
- The 96-Piece Set: This is widely considered the best value. It covers the full spectrum and, given the difficulty of buying singles, it provides enough variety that you won't run out of a specific bridge colour too quickly.
- Value: In the UK, NuPastels are often imported from the US, which can fluctuate in price. It is often cheaper to wait for a sale on a large set than to buy multiple smaller ones.
The Open Stock Workaround
Since art shops no longer stock single NuPastel replacements, planning ahead is necessary. If a specific colour like White, Black, or a particular Terracotta is used up, it is not always required to purchase an entirely new set. These can be supplemented with individual sticks from compatible brands like Cretacolor Pastels Carré or Koh-I-Noor Gioconda. These brands still support individual sales and have a similar firm texture that integrates seamlessly with an existing collection.
How do you fix and preserve NuPastel artwork?
Because pastel never truly dries and simply sits as loose pigment on the surface of the support, finished works remain perpetually vulnerable to smudging and atmospheric moisture. Protecting these pieces requires a combination of chemical stabilisation and physical barriers.
Fixative Sprays
A workable fixative can be applied between layers to lock the pigment in place. This process restores the tooth of the paper and allows for additional layering. Once the work is complete, a final fixative can be used to provide a degree of smudge resistance. However, caution is required because most sprays will slightly darken the values and can dull the most delicate highlights. It is always advisable to test any fixative on a scrap piece before applying it to a finished work. For the best results, the spray should be applied sparingly in light, even passes from a distance of at least 12 inches.
Framing and Glazing
For many artists, the colour shifts caused by fixatives are undesirable, making professional framing the primary method of preservation. Mounting a NuPastel drawing behind glass provides a permanent shield against dust and physical contact. It is vital that the glass does not touch the surface of the artwork. A mount or plastic spacers should be used to create a clear air gap. If the glass comes into direct contact with the pastel, static electricity can pull the pigment off the paper and onto the underside of the glazing, resulting in a ghost transfer that is difficult to remove.
Long-term Storage and Handling
When storing unframed works, the surface should be protected with a sheet of glassine paper. This smooth, pH-neutral, and grease-resistant material prevents the pigment from smearing without sticking to the drawing. Works are best kept flat within a rigid portfolio or a metal plan chest to prevent bowing or friction. For added security, some artists prefer to hinge the glassine to the top edge of the drawing with acid-free tape, ensuring the protective layer does not slide across the surface during transport. Avoid storing pastel work in high-humidity environments, as moisture can compromise the binder in the sticks and lead to the growth of mould on the paper.
Fixative Sprays
A workable fixative can be applied between layers to lock the pigment in place. This process restores the tooth of the paper and allows for additional layering. Once the work is complete, a final fixative can be used to provide a degree of smudge resistance. However, caution is required because most sprays will slightly darken the values and can dull the most delicate highlights. It is always advisable to test any fixative on a scrap piece before applying it to a finished work. For the best results, the spray should be applied sparingly in light, even passes from a distance of at least 12 inches.
Framing and Glazing
For many artists, the colour shifts caused by fixatives are undesirable, making professional framing the primary method of preservation. Mounting a NuPastel drawing behind glass provides a permanent shield against dust and physical contact. It is vital that the glass does not touch the surface of the artwork. A mount or plastic spacers should be used to create a clear air gap. If the glass comes into direct contact with the pastel, static electricity can pull the pigment off the paper and onto the underside of the glazing, resulting in a ghost transfer that is difficult to remove.
Long-term Storage and Handling
When storing unframed works, the surface should be protected with a sheet of glassine paper. This smooth, pH-neutral, and grease-resistant material prevents the pigment from smearing without sticking to the drawing. Works are best kept flat within a rigid portfolio or a metal plan chest to prevent bowing or friction. For added security, some artists prefer to hinge the glassine to the top edge of the drawing with acid-free tape, ensuring the protective layer does not slide across the surface during transport. Avoid storing pastel work in high-humidity environments, as moisture can compromise the binder in the sticks and lead to the growth of mould on the paper.
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Prismacolor NuPastels are primarily composed of pigments and binders. The exact composition isn't widely published, but they are known to be non-toxic and free from silica. All of the Prismacolor coloured pencil component materials are not completely animal-free, as they use waxes that are animal-derived. While Prismacolor does not intentionally use any animal-derived ingredients in the Nupastel line, they are unable to guarantee that they are completely vegan-friendly. |
