The Mystery of Moulin du Roy: Where Did Canson's Beloved Watercolour Paper Go (And Where Is It Now)?7/6/2025
If you're a watercolour artist who loves the beautiful texture and performance of Canson Moulin du Roy paper, you might have felt a pang of frustration recently. You've likely searched the official Canson website, expecting to find detailed product information, only to come up empty-handed.
You're not alone in your confusion, and it's a completely valid frustration. So, what exactly is the story behind Canson Moulin du Roy, and why is it so elusive on the official brand site? 
A nostalgic glimpse at the original design of Moulin du Roy paper pads and sheets, featuring those beautiful deckled edges.
Moulin du Roy has a storied history, long celebrated for its 100% cotton composition and cylinder mould-made quality, offering a feel akin to handmade paper. It became a firm favourite among artists for its excellent absorbency, strength, and ability to allow for lifting and reworking.
However, the paper faced a period of uncertainty. While Canson initially produced it, at one point it was discontinued and replaced by other Canson lines. To the relief of many artists, production was thankfully resumed a few years ago. Crucially, the manufacturing of Moulin du Roy was transferred to the renowned English paper mill, St. Cuthberts Mill. Yes, the same mill that produces other beloved papers like Saunders Waterford and Bockingford! Despite this change in production, the paper is still sold under the Canson Moulin du Roy brand name. 
Click to visit the website of St Cuthberts Mill
Why Isn't It on Canson's Website (Or St. Cuthberts Mill's)?
This is where the confusion truly sets in, and it's a very common question for artists:
The Information You're Looking For (And Where to Find It)
Despite its elusive nature on official brand sites, you can still find comprehensive details about Canson Moulin du Roy:
The Case of the Missing Deckled Edges: Why Moulin du Roy Looks Different
A detailed view of the original Moulin du Roy watercolour paper, highlighting its classic deckled edge and the unique watermark: "Moulin Du Roy Canson France.
Deckled edges, the beautifully feathery, untrimmed edges characteristic of traditionally made, mould-made papers, were a feature of the original Canson-made Moulin du Roy. However, the current paper produced by St. Cuthberts Mill no longer has them; instead, sheets now have four straight, machine-cut sides. This shift doesn't signify a decline in quality – many high-quality, mould-made papers are sold with trimmed edges. For Moulin du Roy specifically, this change was likely part of Canson's specifications to St. Cuthberts Mill when production resumed. This decision would align with strategic goals: enhancing manufacturing efficiency by optimising yield from paper rolls and streamlining cutting for standard sizes.
Is Canson Moulin du Roy Watercolour Paper Available Internationally?
A common question artists have about Canson Moulin du Roy watercolour paper, especially given its unique manufacturing story, is its international availability. Acquiring Moulin du Roy outside the UK may involve looking at UK-based retailers who offer international shipping. While its roots are in France (via Canson) and its current manufacturing in the UK (at St. Cuthberts Mill), this high-quality paper is distributed through some art supply networks across the globe, but it's not currently extensively available.
The UK remains the most reliable hub for purchasing Canson Moulin du Roy, thanks to its proximity to the St. Cuthberts Mill production. You'll have the most success finding it at these well-known, dedicated art supply stores: If you're outside the UK, looking to acquire Canson Moulin du Roy paper, you'll find reliable worldwide shipping options available from both Jackson's Art Supplies and Bromleys Art Supplies. 
Screenshot from www.jacksonsart.com - dated 07.06.2025 - Click to visit the product page.
Screenshot from www.jacksonsart.com - Date: 7th of June 2025 - Click the image to visit the product page.
Screenshot from www.artsupplies.co.uk - 7th June 2025 - Click the image to visit the product page.
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We hope this deep dive has helped clarify the mystery surrounding Canson Moulin du Roy watercolour paper. Its unique journey from factory to studio is fascinating! Now, we'd love to hear from you:
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The Lyra Rembrandt Polycolor Pencils are a specialised set of oil-based coloured pencils designed for artists, designers, and enthusiasts seeking high-quality tools for detailed and expressive work. Manufactured by Lyra, a German company with a rich history dating back to 1806, the Profi-Plus grey tones pencils are part of the broader Rembrandt Polycolor range, known for their vibrant pigmentation, smooth application, and versatility. The grey tones set, specifically a tin of 12 tones, is tailored for monochrome work, shadow underpainting, and detailed graphic art. In this article, we’ll dive into the features, performance, pros and cons, and ideal use cases of these pencils, drawing from various artist reviews and product specifications.
The Lyra Rembrandt Polycolor Profi-plus set, also marketed as 'grey tones', is a compact collection of 12 coloured pencils focusing on shades of grey, including shades of white, black, and both warm and cool greys. These pencils are oil-based, distinguishing them from wax-based alternatives like Prismacolor Premier, and are designed to offer excellent blending, layering, and lightfastness.
Notably, six of the colours in this set are unique and not included in the standard 72-colour Polycolor range: Light Grey Warm (195), Silver Grey Warm (196), Medium Grey Warm (197), Dark Grey Warm (198), Black Soft (199), and Black Hard (299). They come housed in a sturdy, hinged metal tin, a hallmark of premium coloured pencil brands, which ensures portability and protection. The set is marketed as an ideal supplement to the broader Polycolor range, particularly for artists who specialise in monochromatic illustrations or need nuanced greys for underpainting in coloured works. Set Contents: The tin contains the following 12 pencils:
Key Features
Performance and ApplicationApplication & Texture
The Lyra Rembrandt Polycolor grey tones pencils are praised for their smooth laydown and ability to blend effortlessly, particularly when used with the Lyra Splender blender or odourless mineral spirits (OMS). The oil-based core strikes a balance between firmness and softness, being slightly softer than Faber-Castell Polychromos but harder than Prismacolor Premier. This makes them suitable for both detailed work and broader coverage, though some may note they require more pressure to achieve full opacity compared to softer pencils.
The grey tones set are particularly effective for creating subtle gradients and shadow effects. On black paper, the white pencil performs adequately but isn’t as opaque as competitors like Derwent Lightfast, requiring multiple layers for strong highlights. The black pencils, especially the hard black, are excellent for fine details, while the soft and regular blacks blend well for deeper shading. Blending & Layering
Blending is a standout feature of these pencils. The oil-based core allows for seamless colour transitions, whether using a blender pencil, OMS (mineral spirits), or the pencils themselves. Some note that the pencils can be applied loosely without leaving visible pencil lines, which blend out smoothly for soft, blurry backgrounds or gradients. However, layering is where some users find limitations. Compared to Polychromos or Caran d’Ache Luminance, the Polycolor pencils fill paper more quickly, limiting the number of layers that can be applied before the surface becomes saturated. This can be a drawback for artists who rely on extensive layering to build depth.
Lightfastness
Lightfastness is a critical factor for professional artists, and the Lyra Rembrandt Polycolor pencils have a mixed reputation in this regard. Lyra’s own ratings (marked as *, **, or *** for satisfying, good, or extremely good) suggest high lightfastness, but independent tests by the CPSA reveal that less than 50% of the broader Polycolor range (72 colours tested) scored above 5.4 on an 8-point scale, with 11 of 24 colours in one set rated as inferior. For the Grey Tones set, each colour is marked as *** meaning these colours are all highly lightfast.
The lightfastness ratings and colour names of the Polycolor grey tones set of 12, as indicated on the inside of the tin lid.
Colour Accuracy & Range
The Profi-Plus set focuses exclusively on grey tones, offering a balanced selection of warm and cool greys alongside white and black. This makes it an excellent choice for monochromatic studies, portrait shading, or underdrawings. However, some artists have criticised the broader Polycolor range for inaccurate colour labeling on the pencil barrels, where the end cap colour doesn’t always match the core. For the Profi-Plus set, swatching is recommended to ensure accurate colour selection, as the grey tones can vary subtly in warmth or coolness.
Pros and ConsPros
Comparing oil-based coloured pencil brandsVs. Faber-Castell Polychromos The Polycolor Profi-Plus pencils share similarities with Faber-Castell Polychromos, both being oil-based and German-made. However, Polychromos are slightly harder, allowing for more layers and finer details, while Polycolors are softer and fill paper faster. Polychromos also have a broader colour range (120 vs. 78) and generally better lightfast ratings. The Polychromos range has 13 grey tones, plus a standard white and black. Vs. Prismacolor Premier Unlike the wax-based Prismacolor Premier, the Polycolor’s oil-based core avoids wax bloom and feels firmer. Prismacolors are softer and more vibrant but prone to breakage and less lightfast in some colours. The Polycolor Profi-Plus set is more specialised, focusing on greys. In contrast, Prismacolor Premier offers a broader tonal spectrum, with 19 grey shades, plus a standard white and black. Vs. Derwent Lightfast Derwent Lightfast pencils, also oil-based, outperform Polycolors in opacity. They also offer superior lightfast ratings, ensuring excellent longevity for archival artwork. However, their grey selection is limited, consisting of six light grey shades, one medium grey, one metallic grey, and three black tones (including warm and cool variants), which restricts their versatility for monochrome or shadow-focused projects. Additionally, Derwent Lightfast pencils come at a higher cost, while the Polycolor Profi-Plus set offers a more budget-friendly option for grey-focused work. ConclusionThe Lyra Rembrandt Polycolor Profi-Plus Pencils are a niche but valuable addition to an artist’s toolkit, particularly for those specialising in monochrome or shadow work. Their smooth blending, durable construction, and affordability make them a compelling choice for both professional and beginner artists. However, limitations in layering, mixed lightfastness, and less opaque whites mean they may not fully replace top-tier brands like Faber-Castell or Derwent for all applications. Many other brands offer a better selection of greys, but this is a great option as an added addition to the 72-colour set. For artists seeking a specialised set of grey tones at a reasonable price, the Profi-Plus set delivers solid performance with a few caveats. Whether you’re sketching detailed portraits or laying down underpainting for vibrant coloured pencil pieces, these pencils offer versatility and quality that punch above their price point.
Do you own this set of Lyra Polycolor Profi-Plus pencils?
We’d love to hear your take! How do you find this set or the broader Polycolor range? Are they your preferred choice, or do you swear by another brand? Please share your thoughts and experiences in the comment section below. The Underrated Art of Oil Pastels: 12 Misconceptions Debunked
If you’re reading this, you’re likely curious about oil pastels, perhaps having dabbled with them but unsure if they’re a serious artistic tool. You might’ve heard they’re limited compared to traditional art supplies, with critiques shaping your view. But oil pastels are often misunderstood, not flawed. Born in the 1920s as a vibrant alternative to crayons, they soared in 1949 when Pablo Picasso collaborated with Henri Sennelier to create professional-grade pastels for rich, versatile effects on multiple surfaces.
Today, oil pastels remain underappreciated despite their blendability, layering potential, and ability to produce striking textures and the misconceptions hold many artists back. This article challenges twelve common misconceptions about oil pastels, offering fresh insights and practical techniques that highlight their versatility. By the end, you may see them in a whole new light—and perhaps feel inspired to explore their full potential! Misconception 1: Oil Pastels? Hardly a Serious Medium
If you’ve ever heard someone say that oil pastels aren’t “real” art materials, you’re not alone. Many artists dismiss them as tools for beginners, but that couldn’t be further from the truth. If you’ve ever struggled with stiff, unresponsive mediums or wanted a way to blend and layer without waiting for drying time, oil pastels might be exactly what you need. High-quality oil pastels offer rich pigmentation, effortless blending, and a surprising level of versatility. You can go from soft, delicate shading to bold, textured impasto—all with a single stick.
This oil pastel artwork captures a black Labrador and his favourite squeaky raspberry toy, set against a backdrop of professional-grade pastels.
They work beautifully on paper, canvas, wood, and even glass, proving they’re not just for quick sketches but for professional, gallery-worthy artwork. Even Pablo Picasso used them to create pieces that now hang in museums. If they were good enough for him, they’re definitely worth considering. And if you think oil pastels can’t produce highly detailed realism, take a look at this painting of a black Labrador with his squeaky raspberry, created on Ampersand Pastelbord. The depth, texture, and refined edges prove that you can achieve precision and complexity with this medium. Whether you lean toward expressive mixed media or detailed portraiture, oil pastels can offer you freedom, vibrancy, and professional-level results.
Misconception 2: Oil Pastels Are Limited in Technique
Oil pastels often get dismissed as a simple medium, but they offer far more flexibility than many realise. Their composition allows for a range of techniques, from smooth blending to bold, textured effects. Adjusting pressure changes the intensity of colour, while layering builds depth and richness. You can blend them seamlessly using paper stumps, soft cloths, or even your fingers, allowing for precise control over transitions and shading.
A close-up view of a paper stump blending rich oil pastel layers in a vibrant strawberry painting.
Unlike some mediums that dry or set quickly, oil pastels remain workable long after application. You can scrape away layers to create highlights, smudge edges for softer transitions, or mix them with solvents for fluid, painterly blends. Their responsiveness makes it easy to refine details or introduce expressive marks at any stage, ensuring that oil pastels aren’t restrictive but highly adaptable to a variety of artistic approaches.
Misconception 3: Fine Detail Is Impossible with Oil Pastels
Oil pastels are often thought to be too thick and imprecise for detailed work, but their softness and flexibility actually allow for intricate mark-making. By using sharpened tools like a stylus or craft knife, details can be carved into layers of pastel, revealing highlights and textures beneath. Additionally, working with harder oil pastel brands or keeping the sticks chilled can help retain a firmer edge for finer strokes. Even controlled layering—starting with a light touch and gradually building up colour—allows for subtle adjustments without losing precision.
A vivid flamingo portrait on Clairfontaine Pastelmat Brown, blending Gallery student-grade and Sennelier professional oil pastels
Another effective method for achieving fine detail is the use of solvents. A touch of mineral spirits or a similar blending medium can break down oil pastel pigments, creating a paint-like consistency that enables smooth application with a brush or fine-tip tool. This technique not only helps refine edges but also allows for intricate shading and controlled transitions, with the right application, they can rival the level of detail seen in traditional oil paintings.
Misconception 4: Smooth Transitions Are Impossible with Oil Pastels
One of the biggest assumptions about oil pastels is that they lack the ability to create smooth, seamless transitions like paint. While they don’t behave exactly like oils or acrylics, several techniques allow for refined blending. Oil pastels blend best when worked into the surface properly, and the choice of tools makes a significant difference. On textured paper, a blending tool—such as a pastel brush or paper stump—helps distribute pigment smoothly, reducing uneven patches. Light circular motions encourage pigments to settle into the grain without losing vibrancy. The level of softness achieved depends on pressure control and layering techniques, ensuring colours merge seamlessly rather than appearing patchy.
In this video, artist Yolanda Blázquez creates a portrait using oil pastels, showcasing how effortlessly they blend with the right techniques. You can find her website here: YOLANDA BLAZQUEZ ART and her You Tube Channel
Heat can play a role in how oil pastels blend, with warmth from your hand softening the pastel for smoother application. Some artists use a heated drawing surface to further enhance blending, making colour transitions more fluid. Alongside temperature control, solvents help refine blends by breaking down the binder, allowing pigments to spread with ease. A soft synthetic brush provides the best control when applying solvents, preventing excessive pigment disruption. Using a minimal amount—such as odorless mineral spirits—keeps transitions smooth without thinning the pastel too much. For precision blending, a silicone-tipped tool helps guide softened pigment into subtle tonal shifts, making it particularly useful for detailed areas. Explore our Oil Pastel Tutorials
Try one of our oil pastel tutorials! Whether it’s a quick 10-minute strawberry or a detailed wildflower meadow, these guides will help you explore colour, layering, and blending.
Misconception 5: Oil Pastels Never Fully Dry
Oil pastels don’t cure like paints, so they stay soft and require careful handling to prevent smudging. Using glassine sheets is a simple yet effective way to protect the surface while working—placing one beneath your hand stops accidental smudging and prevents dust or debris from settling on the pastel layers and using glassine sheets over finished areas ensures smudges don’t undo your progress.. Fixatives also help secure the pigment; a workable fixative allows you to stabilise earlier layers before adding more colour, while a final fixative provides extra protection once the piece is complete.
An expressive oil pastel painting of a yellow Labrador on Ampersand Pastelbord, carefully protected with a sheet of glassine
Because oil pastels attract dust, framing them behind glass with a spacer is the best way to keep them safe. If you’re storing artwork, use glassine sheets between pieces to stop pigment transfer. These simple steps help preserve your work, ensuring oil pastels stay vibrant without smudging or fading. While they’ll never dry completely, the right precautions make all the difference.
Misconception 6: They’re Too Messy and Uncontrollable
Oil pastels are naturally tactile, which is part of their appeal—but that doesn’t mean they can’t be controlled. Since they stay soft, they can easily transfer onto your hands and work surface, but simple techniques like using glassine paper, can help keep things neat. Keeping the protective paper covering intact while working prevents excess pigment from rubbing off. If pastels start to build up on your fingers, a quick wipe with a cloth keeps colours from transferring where they shouldn’t. In fact, this is a medium where using tools other than pastels can provide far more control and help add interest to your work.
This miniature oil pastel painting of a fishing hut at sunset showcases the unique effects of lifting pastel pigment with a palette knife.
If you need to remove pastel, a palette knife or the edge of a credit card works well for gently scraping off fresh pigment. In this image, a palette knife scrapes away a thin layer of pastel to uncover the black surface of the paper below. For lifting colour rather than fully erasing, kneaded or hard erasers can soften areas without disrupting the entire layer. More often, though, the best approach is to cover rather than remove—applying another layer of pastel or blending in a different colour lets you work with the mistake instead of fighting against it. With the right handling, oil pastels remain expressive without feeling chaotic, giving you the freedom to work intuitively while keeping control over your artwork.
Misconception 7: Oil Pastels Lack Long-Term Durability
Some people assume oil pastels will fade over time, but their longevity depends on lightfastness and proper preservation. Like all art materials, oil pastels come in different quality levels—professional-grade brands, such as Sennelier, Neopastel, and Holbein, offer high lightfast ratings, meaning the pigments remain stable and resist fading when exposed to light. Lightfastness is determined by pigment composition rather than the oil binder—some natural pigments fade faster than others, but reputable brands carefully select stable, tested pigments to ensure artwork retains its vibrancy. Choosing artist-grade pastels over student-grade ensures better longevity, as lower-quality options often use dyes rather than pure pigments, making them more prone to fading.
A look at four oil pastel brands—Sennelier, Gallery, Haiya, and Caran d'Ache Neopastels—displayed side by side.
Even with lightfast pastels, preservation is key. Oil pastel pieces should be framed under UV-protective glass—either UV-filtering acrylic, museum glass, or conservation-grade glazing—to shield them from harmful light exposure. Keeping artwork away from direct sunlight and storing finished pieces with glassine sheets prevents dust accumulation and accidental smudging. Since oil pastels remain workable over time, proper framing with a spacer ensures the pigment doesn’t press against the glass. With the right materials and care, oil pastels can remain vibrant for decades, proving they’re just as archival as other fine art mediums.
Misconception 8: Oil Pastels are not Compatible with Other Art Mediums
It is true that oil pastels can be tricky to mix with certain materials, mainly because of their non-drying oil binder. Unlike dry pastels, which blend effortlessly with water-based media, oil pastels resist absorbing liquid, making them incompatible with watercolor, gouache, or acrylics. They don’t adhere well to surfaces prepped with acrylic gesso or mediums containing water, as the oils repel rather than bind. The soft, greasy nature of oil pastels means they don’t layer well over rigid, dry materials either—attempting to apply them over dried oil paint often results in poor adhesion.
An intricately detailed oil pastel painting, capturing the textures and design of a Mercury Montclair’s steering wheel and dashboard.
That said, some combinations work beautifully. Oil pastels and oil paints can be used together, but only in specific ways. Because oil pastels never fully dry, they should not be applied beneath oil paint, as this can prevent proper curing and lead to instability in the artwork. However, they work well as accents or finishing touches over fully dried oil paintings, which can add extra texture and depth. While not universally compatible with most mediums, oil pastels work brilliantly with coloured pencils, offering versatile effects. In this oil pastel painting of a 1956 Mercury Montclair’s dashboard and steering wheel, the Faber Castell Polychromos pencils were used to add precise dial markings, impossible with pastels alone and they remain a versatile tool when paired with materials that complement their unique properties.
Explore our Oil Pastel Articles
Click the links below to explore our collection of oil pastel and oil-based product articles or visit the beginner’s guide to oil pastels on the Ken Bromley Art Supplies website
Misconception 9: Oil Pastels Have a Limited Colour Range
Oil pastels might not offer the sheer volume of shades that some other mediums do, but that doesn’t mean they’re restrictive. Professional-grade brands such as Sennelier, Holbein, and Neopastel offer expansive colour selections, often ranging from 80 to 120+ shades, covering everything from subtle earth tones to bold, highly saturated pigments. Even brands with smaller sets provide a carefully curated range that allows for excellent mixing—thanks to their creamy texture, oil pastels blend effortlessly, meaning the available colour palette is essentially limitless. With layering and blending techniques, you can create smooth transitions, subtle variations, and entirely new hues by combining colours directly on the surface.
Oil pastel tribute to the felled Sycamore Gap Tree in Northumberland—painted on Fisher400 paper using Sennelier oil pastels and Caran d’Ache Neopastels.
Different brands offer varied characteristics, and mixing between them can create even more possibilities. Sennelier pastels, for example, are extremely soft and ideal for blending rich, painterly effects, while Neopastel offers a slightly firmer texture, allowing for sharper detailing. A great strategy is to use student-grade oil pastels for base layers, saving professional pastels for final details and refinement—this keeps costs down while maintaining a high-quality finish. Since oil pastels never fully dry, layering with different brands ensures depth and complexity without limiting your options. Rather than being restrictive, oil pastels offer a level of creative flexibility that allows artists to build stunning, custom colour palettes with ease.
Misconception 10: Oil Pastels Lose Their Impact on Dark Paper
Oil pastels generally have strong opacity, but certain colours—especially semi-opaque or translucent shades—may appear muted on dark surfaces. While most pastels provide full coverage, some brands include select pigments with lower opacity for glazing effects and subtle layering. Professional-grade oil pastels maintain higher pigment concentration, resulting in stronger colour payoff, whereas student-grade pastels often contain more binders and fillers, leading to weaker coverage on black paper. Using opaque colours from professional brands ensures bold results without needing excessive layering.
Gallery oil pastels on Canson Mi Tientes 'Touch' black paper. Whilst student-grade, they are still highly opaque on dark surfaces.
The paper’s texture also plays a huge role in how pastels perform. Smooth papers tend to resist heavy pastel layers, making colours look uneven, while textured or sanded surfaces grip pigments more effectively, allowing for richer blending and layering. Since oil pastels never fully dry, textured paper helps prevent smudging while building depth. Artists working on dark surfaces can combine different paper types and pastel brands to create bold, high-contrast effects that show off the medium’s vibrancy rather than dulling its intensity.
Misconception 11: Oil Pastels Are Only for Small Pieces—Or Are They?
While oil pastels are often associated with small, detailed work, many artists successfully use them for large-scale pieces. Their smooth application and blendability make them ideal for expressive, bold strokes on big canvases. Artists like Brian Owens push the boundaries of oil pastels, creating hyperrealistic floral compositions. Owens, is known for his highly detailed oil pastel drawings of flowers drenched in honey, showcasing the medium’s ability to capture intricate textures and depth. The key to working large is choosing high-quality, highly pigmented pastels that allow for broad coverage without losing vibrancy.
A bold, large-scale oil pastel painting of an orange and yellow rose with glistening water droplets, created by artist Brian Owens
See more of his work through this link: Hyperreal Oil Pastel Drawings of Flowers Drenched in Honey
Several brands offer larger-sized oil pastels specifically for this purpose. Sennelier’s large-format oil pastels provide rich pigment and creamy texture, making them perfect for covering large areas. Other brands, such as Caran d’Ache Neopastel and Holbein, offer high-opacity pastels that work well for layering and blending on big surfaces. Using textured paper or primed canvas helps grip the pastel, ensuring smooth application and preventing excessive smudging. With the right materials and techniques, oil pastels can be just as effective for large-scale artwork as any other medium.
Misconception 12: They’re Inferior to Traditional Oil Paints
Oil pastels often get dismissed as a lesser medium, especially when compared to traditional oil paints. While oil paints have been used for centuries in fine art, oil pastels offer the same rich pigments and expressive qualities without the complexities of drying time or chemical mixing. Their direct application allows for bold, textural mark-making, something that often gets lost in heavily layered oil paintings. Instead of relying on slow-drying glazes, oil pastel artists build depth through layering, blending, and precision control, achieving results that rival the richness of oils.
A highly detailed oil pastel painting of a Montclair Mercury green car, featuring a woman’s legs casually draped out of the window in bold green stilettos
Although oil pastels don’t harden like oil paints, this quality makes them highly adaptable—artists can rework and adjust areas without waiting for drying stages or risking cracking. Professional brands such as Sennelier, Neopastel, and Holbein ensure high-pigment content, lightfastness, and archival quality, meaning oil pastel artwork holds up over time when properly preserved. Many renowned artists, including Pablo Picasso and Odilon Redon, embraced oil pastels for their intensity, vibrancy, and freedom of expression—proof that they belong among fine art materials, not just as an introductory medium.
In this article, we’ve debunked 12 myths about oil pastels, revealing their true adaptability. From their versatility on dark paper to their ability to cover large-scale surfaces, they offer vibrant, opaque hues, and blend beautifully on textured paper for smooth, layered effects. High-quality oil pastels offer translucent glazing or bold coverage, proving they’re far more flexible than you might think. With the right techniques, you can unlock their full potential for stunning artwork.
Have you tried oil pastels yet, or is there something holding you back? What aspect of the medium are you most curious about? Let us know in the comments!
While scrolling through Instagram, we noticed The Coloured Pencil Shop showing off a new batch of Caran d’Ache NeoArt wax oil pastels—a medium that grabbed our attention as keen oil pastel artists. Having never explored their Neocolor wax oil pastels, we were eager to investigate this new product and promptly acquired a small selection for a comprehensive evaluation.
This article delivers our expert perspective as oil pastel artists encountering Caran d’Ache NeoArt wax oil pastels for the first time, evaluating their quality, usability, and performance against traditional oil pastels. Anticipating a smooth yet firmer texture, we conducted meticulous trials to examine their blending potential, pigment strength, and versatility. Dive into our detailed review below as we unveil the capabilities of these wax oil pastels and their place within the artistic landscape. 
This is the information taken directly from the Caran d'Ache website:
Caran d'Ache launches NEOART™ 6901 : The first-ever lightfast pastel for up to 100 years
Caran d'Ache strengthens its Expert range with the launch of NEOART™ 6901, the first wax and oil pastel conform to the standard ASTM D-6901, offering unrivalled colour intensity and exceptional lightfastness for up to 100 years. This permanent pastel combines the softness of wax with the richness of oil, creating a unique texture. With its high pigment concentration and octagonal shape for easy handling, NEOART™ 6901 is aimed at professionals, art students, and passionate creatives, offering a medium of unrivalled quality for creating nomadic, spontaneous and vibrant work that last over time. With NEOART™ 6901, Caran d'Ache reaffirms its expertise and spirit of innovation, setting a new standard in the world of pastels. ASSORTMENT
DETAILS OF THE PASTEL
Five Caran d’Ache NeoArt wax oil pastels—Dark Indigo, Violet Grey, Light Malachite Green, Bismuth White, and Herculanum Red—lined up for our blending and pigment trials.
When our small order of five pastels arrived, we were immediately impressed by their quality. These pastels match the size and thickness of the renowned Caran d'Ache Neopastels, while their vibrant 48-colour range aligns perfectly with the Caran d'Ache Luminance series. The hexagonal barrel design is a standout feature, preventing them from rolling off workspaces—a practical bonus for artists. Odourless and thoughtfully packaged, each pastel comes with a paper cover featuring tear strips for easy removal as the pastel wears down.
We chose these striking colours:
Initial Trials with NeoArt Pastels on Daler Rowney Smooth Heavyweight PaperFirst Trial: Evaluating Pigment Strength and Application on Daler Rowney Paper
Before delving into more extensive practice, we decided to conduct preliminary trials to assess the NeoArt pastels’ performance. For this, we selected Daler Rowney Smooth Heavyweight paper, a 220gsm surface known for its balance of durability and subtle texture, to evaluate both pigment strength and application characteristics.
The pigment proved notably robust, applying cleanly even on this subtly textured paper. Though firm, the pastels allowed for precise, fine lines and coverage remained consistent, masking the paper’s texture well despite the pastels’ rigidity. These early trials indicated that, on a smooth heavyweight surface, the NeoArt pastels deliver strong, dependable pigment, though their firmness may pose challenges for artists desiring softer, more fluid effects. 
Second Trial: Assessing Blending Capabilities of NeoArt Pastels
For our second trial, we sought to evaluate the blending potential of the NeoArt pastels. Each colour was applied individually, with a secondary colour positioned adjacent to the first. Subsequently, a paler shade was layered over a darker one to assess both blending quality and opacity. To explore how effectively the colours intermingle, we built up multiple layers. The results revealed limited smoothness in blending; the pastels’ firmness prevented a seamless fusion of hues. However, with sufficient application, their opacity enabled a moderately effective blend, masking some of the separation. Notably, in the first sample, the Bismuth Yellow—applied along the edge of a darker tone like Dark Indigo showed a partial overlap, yet distinct boundaries persisted. By the fourth sample, where we attempted blending techniques typical of softer media, the hard edges remained stubbornly defined, underscoring the pastels’ resistance to conventional blending methods
Third Trial: Applying Caran d'Ache Luminance Wax Pencils Over NeoArt Wax Oil Pastels
For our third trial, we explored whether wax-based coloured pencils could be successfully applied over NeoArt wax oil pastels. Given that coloured pencils are often compatible with traditional oil pastels, we hypothesised that the NeoArt formulation might perform similarly. We applied three pastel shades, then overlaid a darker coloured pencil from the same colour family along the edges. The results were disappointing: the wax pencils failed to blend with the pastels, which instead acted as a wax resist, repelling the pencil pigment so that it only adhered visibly outside the pastel’s boundaries. Curious if the medium’s base might alter this effect, we also tested the Faber Castell Polychromos oil-based coloured pencils, only to encounter the same resistance. Much like their wax counterparts, the oil-based pencils were rebuffed by the NeoArt surface, with pigment again confined to areas beyond the pastel edges. This consistent wax-resist behaviour suggests that the NeoArt pastels’ composition significantly impedes integration with both wax and oil-based pencils, limiting their versatility in mixed-media applications.
Final Trial: Comparing Pigmentation of NeoArt Pastels and Luminance Pencils
In our final trial, we aimed to compare the pigmentation of NeoArt wax oil pastels with their coloured pencil counterpart, the Caran d'Ache Luminance pencil. We applied each medium to a sheet, delineating the two sections with small markers protruding at the centre: the upper portion featured the coloured pencils, whilst the lower showcased the NeoArt pastels. The pencils struggled to saturate the paper’s texture, leaving gaps even under significant pressure, whereas the NeoArt pastels filled the surface more uniformly and smoothly, with less pressure, achieving a consistent finish. Remarkably, the pigment intensity between the two proved nearly identical, suggesting that, despite differences in application, the NeoArt pastels and Luminance pencils share a closely matched colour potency and opacity.
Testing the Caran d'Ache NeoArt Wax Oil Pastels on Paper
Eager to see how these wax oil pastels performed in practice, we decided to test them on a couple of papers. We began by fixing sheets to a wooden-top easel with masking tape—a technique we recommend for any pastel work. This simple step secures the paper and leaves a clean, neat edge, perfect for framing later. Our first choice was Clairfontaine Pastelmat, widely regarded as a top pick among pastel artists. If any paper could coax the best out of these pastels, we figured Pastelmat would be it, thanks to its reputation for versatility and quality.
Clairfontaine Pastelmat stands out with its unique surface, blending the grit of sanded paper with a velvety softness. It’s absorbent, designed to hold multiple layers of pigment and even solvents, making it ideal for techniques like blending, layering, and mixing media.
Applying and Blending NeoArt Pastels: Challenges and Solutions
We started off by applying Dark Indigo and Bismuth White, the latter showing a faint yellow tint. Right away, we noticed these Caran d'Ache NeoArt wax oil pastels were much harder than we’d anticipated—far from the "softness of wax with the richness of oil" promised by Caran d'Ache. Getting an even application felt like a battle; the pigment resisted spreading smoothly, leaving us wondering if our technique was wrong. As oil pastel artists used to creamier textures, this firmness threw us. Still, as we built up layers—pressing harder to coax out colours like the Dark Indigo—we noticed that the slow wear of these firm pastels meant they lasted longer, even if it took serious effort to achieve the pigment intensity we wanted.
Layering Bismuth White over Dark Indigo offered a glimmer of hope. Without tools, we managed a modest blend—more of a subtle overlap than a seamless fade. But the hardness of the pastel resulted in the pigment resting on the surface of the paper rather than penetrating the tooth, limiting how much we could manipulate it. Curious to see more, we included both Light Malachite Green and Violet Grey. Blending these proved even tougher—no amount of finger-rubbing or blending stumps (our go-to for softer pastels) could soften the edges. These NeoArt pastels were simply too rigid, resisting every attempt to mix shades like we’d expected. 
Blending Tools, Solvent Application and Paper Performances
Determined to find a workaround, we tested a couple of blending products. First, we tried the Caran d'Ache Full Blender, a tool designed for wax-based pencils. It softened the lines slightly, but the results were patchy and at times, it simply scraped off the pigment. Next, we turned to a solvent, reaching for Zest-it Pencil Blend, which works for both coloured pencils and oil and wax pastels. It took a generous amount to loosen the wax, and while it blurred the colours a little, the finish was uneven. Plus, the strong citrus scent hit us hard—an overpowering distraction we hadn’t bargained for. Zest-it offers an odourless version, which we’d recommend for anyone wishing to use Zest-it to blend such pastels; in hindsight, we wish we’d had it. Worse, the solvent left the paper slick and slow to dry. Every attempt to layer more pastel—like adding Violet Grey for depth—just skimmed over the wet surface, barely sticking. To top it off, the pigment that rubbed off onto our fingers clung stubbornly, resisting soap for longer than we’d like.
Having encountered challenges with the Zest-it solvent’s potent citrus aroma and prolonged drying time, we observed a notable improvement when examining the paper from an angle. The blend of Dark Indigo and Bismuth White appeared considerably more effective, displaying a cohesive finish that belied our earlier difficulties. To refine this further, we employed a thick, absorbent sheet of kitchen paper to manipulate the still-damp pigments, yielding distinctive, textured marks that enhanced the composition. Photographs of this stage are included below, illustrating the subtle layering and the intriguing effects achieved with this method.
Concluding that additional efforts on the Pastelmat sample were impractical whilst the solvent remained wet, we set it aside, as no pigment adhered effectively under those conditions. Initially unsure of how to proceed, we assessed our achievements: the solvent had notably intensified the pigment—vivifying hues such as Dark Indigo—and enabled a measure of blending, enriched by the delicate texture imparted by the kitchen paper. Revisiting the sample after 24 hours, we found the paper had dried thoroughly, with no pigment lifting upon contact. Encouraged by this, we applied further layers and employed the solvent once more, successfully softening the new application without disturbing the underlying pigment. This durability is significant, setting this method apart from traditional oil pastels, which remain perpetually tacky and prone to smudging due to their failure to fully dry.
Subsequently, we transitioned to Bockingford Not watercolour paper to evaluate its suitability for these firm NeoArt pastels. Renowned for its exceptional absorbency, this paper presented a promising option for solvent-based techniques. It absorbed the Zest-it more readily than Pastelmat, affording greater control over pigment distribution—Violet Grey, for instance, began to integrate into the paper’s texture rather than merely resting atop it. The pronounced tooth of the surface also improved adhesion, facilitating a more consistent build-up of colour without the skimming we had previously encountered. Images provided below capture this progress, while not flawless, marks a discernible improvement over earlier trials.
Non-Solvent Application on Bockingford Not and Final Thoughts
In contrast, applying the NeoArt pastels to Bockingford Not watercolour paper without solvent proved challenging due to the paper’s pronounced texture. Achieving successful blending in these areas was elusive; the coarse surface exacerbated the pastels’ inherent hardness, thwarting efforts to merge hues like Violet Grey and Light Malachite Green seamlessly. It appears that layering colour over colour offers a more effective means of blending than relying on tools, as the firm composition resists manipulation by blending stumps or fingers.
The outcome hinges on the desired effect: for intricate, smooth finishes, solvent application seems not merely preferable but potentially essential. Artists seeking crisp, detailed lines might find the pastels’ durability advantageous, though blending remains limited. Applying coloured pencils over a thin layer of NeoArt pastel proved feasible, though likely less effective on thicker applications. We will continue to explore additional reviews and techniques about the NeoArt pastels from fellow pastel enthusiasts to refine our approach and uncover further possibilities with this medium.
Questions and Answers About NeoArt Wax Oil Pastels
What Are Caran d'Ache NeoArt Wax Oil Pastels Designed For?
Caran d'Ache NeoArt wax oil pastels are engineered to offer artists a versatile, high-quality medium for a range of creative pursuits. Celebrated for their intense pigmentation, these pastels produce rich, vibrant colours well-suited to bold, expressive artwork. Their creamy yet firm texture facilitates smooth application and supports blending with solvents, enabling the creation of subtle gradients and transitions. Intended for use across various surfaces, such as paper and canvas, they invite experimentation with different textures. Unlike some media, they do not pair effectively with coloured pencils, limiting their utility in certain mixed-media applications. Their water-resistant property, however, ensures colour stability, rendering them dependable for lasting compositions. Ultimately, NeoArt pastels are designed to empower artists with a robust tool for striking and nuanced expressions, particularly where blending and surface versatility are prioritised.
How Can You Blend Caran d'Ache NeoArt Wax Oil Pastels Effectively?
The firmness of Caran d'Ache NeoArt wax oil pastels can make blending challenging, but several techniques can improve their workability:
Are Caran d'Ache NeoArt Wax Oil Pastels a New or Revived Product?
Our research into Caran d'Ache NeoArt wax oil pastels revealed limited availability on UK online stores at the time of writing, prompting us to explore further. A 2010 review on the esteemed 'Making A Mark' website discussed an earlier NeoArt product, raising the question of whether the current pastels are a reintroduction or an entirely new offering. As NeoArt is a trademark of Caran d'Ache, the reuse of the name seems deliberate. Historically, confusion has arisen with the discontinued NeoArt Aquarelle pastels—large-diameter, water-soluble wax pastels, distinct from the Caran d'Ache Neocolor II, and once available in 60 colours. A 2007 post linking to the Caran d'Ache website now redirects to the modern NeoArt wax oil pastels, suggesting the company has repurposed the name for a fresh product. Unlike their water-soluble predecessors, the current NeoArt 6901 Oil Pastels are not water-soluble, marking a shift to an oil-based formulation designed for enhanced performance.
How Do NeoArt Wax Oil Pastels Compare to Coloured Pencils?
Both NeoArt wax oil pastels and coloured pencils enable vibrant, colourful artwork, yet their composition and application diverge significantly:
How Does the NeoArt Wax Oil Pastel Colour Palette Compare to Other Caran d’Ache Lines
While Caran d'Ache Luminance pencils and NeoArt wax oil pastels are distinct in their composition and properties, they indeed have complementary colour palettes. This intentional design makes it easier for artists to use them together seamlessly. Caran d'Ache has a reputation for producing high-quality art supplies with consistent and vibrant colours. This consistency allows artists to mix and match different products from their range without worrying about colour discrepancies. Therefore, even though the products are different, they can work well together to enhance your artwork.
Combining these mediums can give you the freedom to exploit the unique qualities of each—use the rich texture and vibrant coverage of the NeoArt pastels and the precise, detailed lines of the Luminance pencils. 
How Do NeoArt Wax Oil Pastels Differ from Other Caran d’Ache Pastels?
Caran d’Ache NeoArt wax oil pastels stand apart from Neocolor I, Neocolor II, and Neopastels in composition and use—here’s how they compare:
How Does the NeoArt Wax Oil Pastel Colour Palette Compare to Other Caran d’Ache Lines
Questions often arise about the compatibility of Caran d’Ache NeoArt wax oil pastels with Neopastels and the Neocolor ranges. Our findings suggest limited synergy. Composed of a wax-oil blend, NeoArt pastels prove too firm to integrate effectively with Neopastels; rather than depositing their own colour, they tend to displace the softer, oil-based Neopastel pigment, resulting in minimal transfer. This incompatibility stems from a pronounced difference in texture, rendering smooth blending unfeasible. Similarly, pairing NeoArt with Neocolor I (water-resistant wax) or Neocolor II (water-soluble wax) yields poor results. The oily nature of NeoArt resists adhesion to the wax-based Neocolor surfaces, echoing the challenges observed with coloured pencils. Whilst layering is possible to achieve textural contrast, seamless blending remains elusive across these mediums. Consequently, NeoArt wax oil pastels appear best suited to standalone applications rather than cohesive combinations with these Caran d’Ache counterparts.
Have you tried the NeoArt wax oil pastels yet?
We would love to hear your insights on these pastels. Do you find them appealing? How do you incorporate them into your work, and have you encountered any useful tools in your experience? Please share your feedback in the comments section below. Tinted Bockingford NOT Watercolour Paper: A Comprehensive Guide to Its Features and Benefits28/2/2025
For artists seeking a reliable and versatile surface, Tinted Bockingford NOT watercolour paper stands out as a remarkable choice. Manufactured by St Cuthberts Mill in England, this mould-made paper combines archival quality with a distinctive texture, offering a unique blend of performance and aesthetic appeal. Available in a range of subtle tints—blue, cream, eggshell, grey, and oatmeal—this paper elevates artwork by providing an instant mood-setting backdrop. Whether you’re a professional artist or an enthusiastic beginner, understanding the properties of this paper can transform your creative process. This article delves into its key features, practical applications, and finer details, ensuring you have all the information needed to make the most of this exceptional paper.
Display of Tinted Bockingford NOT paper tints: blue, cream, eggshell, grey, oatmeal, alongside the standard white variant.
Technical Specifications and DurabilityMaterial Quality: Built to Last
Crafted from 100% high alpha cellulose, Tinted Bockingford NOT watercolour paper is acid-free and buffered with calcium carbonate, ensuring long-term stability. Its pH-neutral composition and absence of optical brightening agents guarantee that colours remain stable and resistant to fading when exposed to light. Rated at 140lb (300gsm), the paper is robust enough to handle heavy washes without buckling, provided it’s stretched or taped as recommended by St Cuthberts Mill. This archival quality ensures that your artwork endures, making it a trusted choice for pieces intended for display or sale.
Practical Specifications
Available in the following sizes:
Versatility Beyond Watercolour
While designed for watercolour, Tinted Bockingford’s utility extends to a variety of media. Its texture and strength make it an excellent drawing paper, accommodating pencils, charcoal, gouache, pastel, pen and ink, and even printmaking. The tinted backgrounds enhance these applications, offering a fresh alternative to stark white surfaces. Artists have noted its tolerance for multiple layers of coloured pencils and its compatibility with erasers, achieving professional finishes suitable for gallery exhibition. This versatility broadens its appeal, catering to mixed-media artists and those exploring diverse techniques.
Close-up of the distinctive cold-pressed (NOT) texture on Tinted Bockingford paper, showcasing its unique surface quality.
Key Features of Tinted Bockingford NOT Watercolour PaperExceptional Pigment Retention: A Standout Feature
One of the most compelling attributes of Tinted Bockingford NOT watercolour paper is its extraordinary ability to capture and hold pigment. Artists using high-quality pencils, will find that even a light touch yields vibrant, saturated colour transfer. This characteristic minimises the effort required to achieve bold, impactful hues, making it an efficient choice for detailed works like portraits or intricate illustrations. The paper’s surface, created using natural woollen felts, provides a random, cold-pressed (NOT) texture that enhances pigment adhesion, ensuring colours remain vivid and true without excessive layering.
Tinted Options: Setting the Mood
Unlike traditional white watercolour papers, Tinted Bockingford offers five distinct hues that add an immediate atmospheric dimension to your work. The transparency of watercolour paint means the paper’s base colour influences both painted and unpainted areas, allowing artists to subtly alter the mood or time of day depicted. Blue evokes serene twilight scenes, grey suggests moody, overcast skies, while cream and oatmeal lend warmth to portraits or landscapes. Eggshell provides a soft, neutral base that complements a wide range of subjects. These tints, though pale, invite experimentation, making the paper a favourite for artists aiming to infuse their pieces with emotional depth from the outset.
Seamless Blending: Effortless Transitions
Blending is where Tinted Bockingford truly excels, setting it apart from many other papers in its class. The surface allows for smooth, effortless transitions between colours, requiring minimal pressure or manipulation. In a practical test with a portrait, initial layers of skin-tone colours blended seamlessly when adjusted with a secondary tone. However, a word of caution: the paper’s strong pigment retention can pose challenges with opaque blending tools. For instance, using Derwent Drawing’s Chinese white to blend proved problematic, as its opacity overwhelmed underlying tones due to the paper’s receptive nature. This unique trait—while a strength—requires careful selection of blending mediums to avoid oversaturation. Opting for less opaque tones or tools can yield harmonious results, preserving the artwork’s intended subtlety.
The paper’s capacity to accept multiple layers without losing integrity is a boon for artists who build complexity over time. Unlike many surfaces that resist additional pigment as layers accumulate, Tinted Bockingford remains responsive, allowing for rich, multi-dimensional compositions. Should mistakes occur, its excellent colour-lifting abilities shine through—pigment erases easily, offering a forgiving canvas for refinement. In one instance, an erroneous application of white pencil lifted effortlessly, enabling a swift correction with an alternative tone. This adaptability makes it ideal for both meticulous planning and spontaneous experimentation.
Layering and Correction: A Forgiving SurfaceEnhanced Layering Capacity
Tinted Bockingford NOT watercolour paper demonstrates a remarkable ability to accommodate extensive layering, distinguishing it as a standout medium for artists working with varied pencil grades. This surface readily accepts both soft pencils—ideal for establishing base layers and backgrounds—and harder pencils suited to rendering fine details, without reaching a point of saturation where pigment begins to slide off. In our experience, most papers exhibit a threshold beyond which additional layers become increasingly difficult to apply effectively. However, Tinted Bockingford defies this norm, maintaining its receptiveness even as colours accumulate. This exceptional performance stems from its superior pigment retention, which eliminates the need for heavy-handed applications, allowing for a fluid and effortless buildup of numerous layers—a quality we have rarely encountered in other papers.
Chaffinch on Grey Tinted Bockingford NOT Watercolour Paper using Derwent Drawing pencils
Upon initial evaluation, one of the most striking attributes we observed was the exceptional manner in which the paper captures and retains pigment. For the Chaffinch portrait illustrated above, we employed the Derwent Drawing pencils, and were notably impressed by the minimal effort required to achieve robust colour transfer onto the surface. The paper’s receptive quality ensures that even a light application yields impressive saturation, making it an ideal medium for artists seeking efficiency and depth in their work. When exploring the blending capabilities, it facilitates seamless blending with remarkable ease, requiring only minimal manipulation to achieve smooth transitions between hues.
Female Portrait on Grey Tinted Bockingford NOT Watercolour Paper using Caran d'Ache Luminance and Derwent Drawing pencils
For our second trial, we chose a vibrant portrait. We began by laying down the foundational colours constituting the skin tones of the portrait. Initially, we opted to blend these tones using Derwent Drawing’s Chinese white. However, this proved to be an oversight on our part. Given the paper’s exceptional pigment adhesion—previously noted as a strength—the opaque nature of the Chinese white overwhelmed and saturated the underlying colours, muting the subtleties we had intended to preserve.
Combination of dry blending and Zest-it solvent blending, using Derwent Drawing pencils and Caran d’Ache Luminance on Tinted Bockingford NOT paper.
This experience was unprecedented in our work with various pencil ranges, as typically, the challenge lies in layering additional colours as the surface becomes less receptive with each application. In contrast, this paper demonstrates a unique capacity to accept multiple layers effortlessly, maintaining its integrity and responsiveness throughout the process. Recognising our misstep, we promptly adjusted our approach. The white pencil, fortunately, erased with ease—a testament to the paper’s versatility and forgiveness—allowing us to refine our technique without compromising the artwork. We then selected an alternative tone for blending, which proved far more harmonious with the existing colours and enabled us to achieve the desired effect.
Blending with Zest-it on Tinted Bockingford NOT paper
Female portrait on Tinted Bockingford NOT paper, demonstrating Zest-it watercolour pen blending alongside unblended pencil work
Tinted Bockingford NOT watercolour paper proves to be an exemplary surface for combining Zest-it pencil blend with coloured pencils, yielding impressive results for artists seeking refined textures and expansive coverage. Its exceptional pigment retention ensures that the pencils’ colours adhere vividly to the surface, creating a robust foundation that enhances the effectiveness of the Zest-it solvent. When applied, this blending medium produces a remarkably smooth finish, facilitating effortless transitions across larger areas and enabling the creation of soft, tonal backgrounds. This synergy between the paper’s receptive qualities and the solvent’s blending capabilities allows artists to achieve a polished, seamless effect with minimal effort, making it an ideal choice for both detailed compositions and atmospheric expanses.
Art Insights and AvailabilityUser Insights: Real-World Performance
Feedback from artists underscores the paper’s strengths and quirks. Many praise its subtle tints and quality at an affordable price point, noting its suitability for portraiture and atmospheric landscapes. However, some have observed that the tints are less saturated than expected, requiring adjustments in technique to maximize their effect. Packaging issues, such as occasional dents in shipping, suggest a need for improved protection, though these rarely impact the final mounted piece. Overall, users appreciate its forgiving nature and professional-grade results, often citing it as a go-to for both practice and exhibition-quality work.
Availability and Considerations
Tinted Bockingford is widely available through art supply retailers like Jackson’s Art Supplies and Bromleys in the UK, though some regions, such as the US, report difficulty sourcing the tinted option. Offered in single sheets or packs, it’s accessible for artists wanting to test its capabilities. Priced competitively for its quality, it strikes a balance between premium cotton papers like Saunders Waterford and more budget-friendly options, making it a practical choice for regular use.
If you are looking to purchase some of this paper, you can click the links below. Both Ken Bromley and Jackson's Art ship worldwide, but be aware that shipping may be expensive.
Please share this article with fellow artists or enthusiasts who might benefit from exploring Tinted Bockingford NOT paper’s unique qualities.
We’ve explored the unique qualities of Tinted Bockingford NOT paper—from its pigment retention to its blending prowess. Have you tried this paper in your own projects? Share your experiences or favourite techniques in the comments below—we’d love to hear from you!
Art Workshops Update
After careful consideration, I have decided to discontinue my in-person art workshops. Over time, maintaining sufficient attendance has become increasingly challenging, leading to several session cancellations. Additionally, the logistics of travelling for these workshops have become more demanding, particularly as I do not have access to a car and must undertake a six-hour journey to Chesterfield, where my family resides. Although I store some materials at my father’s home, the necessity of transporting a substantial amount of equipment has added to the challenges.
I want to extend my heartfelt gratitude to each and every one of you who has participated in my workshops since their inception in 2011. It has truly been a joy to meet so many wonderful people, and I hope you have found them valuable and learned so much during our sessions. While many of you joined to learn, I have also greatly benefited from the experiences you have shared with me. Your support has played a crucial role in the growth of my art business, and I look forward to the exciting new ventures ahead. I hope you will join me on this journey. Best Wishes Karen M Berisford 
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Let us know in the comments if there are certain subjects you would like us to include in our future articles, art tutorials or on our YouTube Channel.Ergonomic arm rest review by Karen M Berisford
As a professional artist, I spend significant time working at my desk. While I have an easel, I only use it when working on large paintings. The easel's adjustability, both horizontally and vertically, is impressive. Still, it lacks arm support, making it uncomfortable to work on for extended periods.
Working at an easel for long hours can be challenging for artists, as it can cause pain and stiffness in the shoulders, arm and wrist. This can affect the quality and enjoyment of the art, as well as the health and well-being of the artist. 
A while ago, I bought an ergonomic arm rest which attaches to a solid surface, and use it to support my forearm and wrist when working from my easel. It provides the necessary support to reduce the strain on my hand and wrist as I work and it has helped to improve my posture and reduce the stress on the muscles and joints. It also allows my hand and arm to move freely and smoothly, giving more control and precision over the strokes.
I have provided a video below showing how the arm clamp operates.
My armrest is constructed of metal, which is necessary to support the weight of my arm. The armrests need to have some weight behind them to clamp onto a desk securely while also supporting the weight of your arm. A few companies sell ergonomic armrests, and as I am not endorsing any particular brand, the fittings may differ from one brand to another.
An ergonomic arm rest is adjustable and flexible and the height of the arm rest can be changed to suit the preferences and needs of the artist. There are five different height settings, up to 4 inches, to choose from. The arm rest can also swivel and move with the arm as the artist works. The arm rest has a clamp that fits most easels, and can be attached and detached easily.
The one I have is from BONTEC which I purchased on AmazonUK, however there are others brands available which may differ slightly in their design. There are numerous arm rest designs available if this style is not suitable. Here is the link on Amazon.
By sharing this information, I hope others may also benefit from its usefulness. Please note that I am not promoting or endorsing this product but offering friendly advice for those who may find it beneficial.
If you are an artist who cares about the longevity and preservation of your work, you might have heard of the terms “acid-free” and “archival” when it comes to paper quality. But what do they mean, and how do they affect your art? Let's take a look.  Acid-free paper is paper that has a neutral or alkaline pH, meaning it does not contain any acids that could cause deterioration or discoloration over time. Acid-free paper is more resistant to yellowing and fading, and it is better for the environment. Archival paper is paper that meets certain standards of permanence and durability, in addition to being acid-free. Archival paper should also contain no groundwood or unbleached pulp, meet strict limits on metallic content, and be free from optical brighteners, which artificially make the sheet whiter. Archival paper is often made with 100% cotton, which is considered to be the most stable and pure cellulose fiber. Acid-free paper is not necessarily archival, and archival paper is not necessarily acid-free. For example, an acid paper with buffers added could still deteriorate or yellow if the acid remaining in the sheet or formed during aging exceeds the buffering capacity. Conversely, an alkaline paper without any buffers could become acidic over time due to environmental factors.
Most papers that have archival properties were originally designed for use in printing. However, certain papers, like Stonehenge, have gained popularity among coloured pencil artists due to their archival qualities. Archival papers are known for their lightfastness, which is typically assessed using the "Blue Wool" scale. This means that these papers do not fade over time or experience significant fading compared to non-lightfast papers. Conversely, non-archival papers like the Ursus line, are acid-free and can still be protected in various ways. If you intend to frame your artwork, it is advisable to use UV-protected or museum-quality glass as a means of safeguarding the artwork. Although this option may be more expensive, it provides the assurance of long-term protection. Did you know? If you cover the entire surface using lightfast products, the underlying material is protected from direct exposure to light. Lightfast products are designed to resist degradation when exposed to light, significantly reducing the rate of fading. However, it’s important to note that no product can completely eliminate fading, especially under intense or prolonged exposure to light. Regular maintenance and care are still necessary to preserve the appearance and quality of the surface. Advice for caring for your archival and acid free paper
The term “archival” is not regulated or standardised, and different manufacturers and archivists may have different definitions and criteria for what makes a paper archival. Therefore, it is important to check the specifications and certifications of the paper before buying it, and to look for reputable brands and sources.
What’s your favourite type of paper for your art? Do you go for acid-free, archival, or a mix of both? We’d love to hear your thoughts in the comments! The Staedtler Mars Lumograph black pencil boasts a smooth matte finish, thanks to its high carbon content which gives it a deep and intense black hue. Using graphite pencils often results in a shiny finish, but this is eliminated when using the Lumograph black carbon pencils. Carbon and charcoal-based pencils are ideal for drawing, hatching, and creating expressive sketches and portraits. They produce deeper blacks than graphite pencils, making them a valuable addition to any art kit. In this article, we analyse their effectiveness and the different features they offer for graphite-based artwork. Our aim is to allow you to determine if they would make a useful addition to your own art kit. 
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How do carbon based pencils compare to the graphite pencil?
| GRAPHITE PENCILS
| CARBON PENCIL
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We compared Staedtler Mars Lumograph black carbon pencils to graphite pencil brands Derwent and Faber Castell 9000. The HB grades appear similar, but the Lumograph black pencils' B grades are markedly darker than any graphite pencil we measured.
ERASING
When it comes to erasing, it's important to note that not all pencils are created equal. Carbon pencils, (specifically, Mars black), tend to be much harder to erase than your standard graphite pencil. In fact, the difference is quite noticeable - just take a look at the comparison of the two samples side by side. Carbon pencil on the left and graphite on the right. So, if you're working with a darker lead pencil, be prepared to put in a bit more effort when it comes to erasing any mistakes.
Carbon sample on the left, graphite on the right
How do carbon based pencils compare to charcoal based ones?
Carbon pencils should not be mistaken with charcoal pencils. Charcoal is created by burning wood or other organic materials in a container with minimal airflow. The charcoal is then mixed with a binder, such as clay, wax, or gum. Carbon pencils are created by burning carbon instead, then mixed with a binder such as clay and lamp black, but may also be blended with charcoal or graphite depending on the darkness and manufacturer (source). They produce darker marks than graphite pencils, but feel smoother than charcoal, which can be gritty.
OVERVIEW
The composition of these pencils contain some graphite but are primarily carbon-based, resulting in a matte finish that diminishes the typical luster found in graphite pencils. Additionally, they are notably resilient, even in the darker grades, and do not flake during use. However, it is important to note that they are not well-suited for blending and cannot be fully erased.
If you want to achieve a dark and matte finish in your artwork, blending graphite and carbon pencils can be a great technique to try out. These two types of pencils can be combined to create a unique and striking effect that will enhance the overall look of your work. They work best for techniques like hatching or stippling that don't require blending. Why not try them and see how it can elevate your art to the next level.
The composition of these pencils contain some graphite but are primarily carbon-based, resulting in a matte finish that diminishes the typical luster found in graphite pencils. Additionally, they are notably resilient, even in the darker grades, and do not flake during use. However, it is important to note that they are not well-suited for blending and cannot be fully erased.
If you want to achieve a dark and matte finish in your artwork, blending graphite and carbon pencils can be a great technique to try out. These two types of pencils can be combined to create a unique and striking effect that will enhance the overall look of your work. They work best for techniques like hatching or stippling that don't require blending. Why not try them and see how it can elevate your art to the next level.
Customer feedback:
(Via Amazon)
" The pencils are lovely, but because they are difficult to completely lift with an eraser. I'm not sure if they would be suitable for my daily sketches. I think I would sketch in a regular pencil first and then use these once I'm committed. "
" Great pencils.... I've always disliked how I'd get a shiny graphite tone when using 6B+ grades. I found charcoal and charcoal pencils don't blend with graphite to get black blacks but these do. "
" Leads are good and don't break readily. Would recommend. "
" After years of using graphite and carbon for drawing, I constantly look for new products. While the Staedtler 7B and 8B provide contrast, I found the Lyra and Faber Castell PITT Oilbase carbon pens more suitable. The Mars Lumograph black still feels like a graphite pencil and the degrees of hardness are unequal, for example, the 2B felt visibly harder than the HB. The 4B broke often, whilst the 6B was fine. However, they still have that shimmer found in graphite blends. The 7B and 8B pencils were harder than expected for their grade level. The level of graphite was noticeable, resulting in shades that are appropriately black. These pencils are unsuitable for my needs as they do not produce my desired effect and have unpredictable degrees of hardness." Translated from German
" Great pencils.... I've always disliked how I'd get a shiny graphite tone when using 6B+ grades. I found charcoal and charcoal pencils don't blend with graphite to get black blacks but these do. "
" Leads are good and don't break readily. Would recommend. "
" After years of using graphite and carbon for drawing, I constantly look for new products. While the Staedtler 7B and 8B provide contrast, I found the Lyra and Faber Castell PITT Oilbase carbon pens more suitable. The Mars Lumograph black still feels like a graphite pencil and the degrees of hardness are unequal, for example, the 2B felt visibly harder than the HB. The 4B broke often, whilst the 6B was fine. However, they still have that shimmer found in graphite blends. The 7B and 8B pencils were harder than expected for their grade level. The level of graphite was noticeable, resulting in shades that are appropriately black. These pencils are unsuitable for my needs as they do not produce my desired effect and have unpredictable degrees of hardness." Translated from German
Staedtler Mars Lumograph standard versus Lumograph Mars black
Are these pencils significantly different from the standard blue Mars Lumograph pencils comparing same grades and is it worth owning both?
Answer:
Yes, They are significantly different. The black option is much darker and produces far less shine. Having both is a good choice.
Question and answer from the Amazon webstore.
Answer:
Yes, They are significantly different. The black option is much darker and produces far less shine. Having both is a good choice.
Question and answer from the Amazon webstore.
Wood from certified, sustainably managed forests.
Have you tried these pencils yet? please share your own personal opinions of them in the comments below.
UPDATED 7th February 2025
We were sent a box of HAIYA oil pastels by the Paul Rubens art company, asking if we would review them. We only agreed to do so with the understanding that we could write an honest review. After conducting our research and product testing, we present our findings and hope this review is helpful to you.
Key feature of this set:
- Creamy Texture: They are super smooth and soft to use. The soft texture allows them to perform great for blending and mixing! Easy to colour with no effort!
- Novel Design: The new bullet design and cylindrical paint allow to grip and draw comfortably!
- 48 Vibrant Colours: 48 vivid colours and providing strong coverage, showing the texture effect of an oil painting!
- Additional sets: 60 and 72 box sets plus individual large pastels available.
- Eco-friendly and High-quality Materials: The oil pastel set is made of eco-friendly materials and high-quality. Four seasons available, winter and summer seasons soft and hard degree changes very little.
- Affordable: This set of oil pastels is very affordable, high quality, and also perfect for beginners.
Ideal for the novice
If you're a beginner, we suggest starting with a more affordable set to gain some experience. This approach can be cost-effective in the long run.
You can purchase this set of 48 oil pastels on Amazon for approximately £30. They are considered to be of student-quality, which means they are priced similarly to other student-quality oil pastels and provide good coverage. If you are an amateur, this set is a great way to get a feel for the medium.
You can purchase this set of 48 oil pastels on Amazon for approximately £30. They are considered to be of student-quality, which means they are priced similarly to other student-quality oil pastels and provide good coverage. If you are an amateur, this set is a great way to get a feel for the medium.
How do they compare to professional quality oil pastels?
Having read numerous reviews about this product before agreeing to do our own review, we note many users comparing them to the Sennelier oil pastels. The Sennelier pastels are almost certainly the best quality oil pastel on the market and were created especially for the artist Pablo Picasso in 1949, so any comparison to this product is purely cosmetic. Paul Rubens does not market their oil pastels as artist quality, so we will briefly compare them. They are both bullet-shaped, making the application slick. They are also very creamy, so each layer is thick and opaque.
Though Paul Rubens states their pastels are lightfast, we cannot find any information on the testing standards they use, so it is unlikely that they will be of the same rigorous levels that well-known brands use. Always ensure your artwork is correctly protected and avoid hanging your paintings in direct sunlight.
Though Paul Rubens states their pastels are lightfast, we cannot find any information on the testing standards they use, so it is unlikely that they will be of the same rigorous levels that well-known brands use. Always ensure your artwork is correctly protected and avoid hanging your paintings in direct sunlight.
Our trial and findings
We used a limited number of colours and a small sheet of Art Spectrum Colourfix black to create a drawing of a fishing shack against a pink sunset. First, we applied a light layer of colours, gently blending them. Then, we added more tones and re-blended to cover most of the paper surface. We used a palette knife to lift the pastel and expose the black surface, which helped to create the contrasts found in the shack and frame. By removing the pastel with a tool, we could achieve the fine details that are impossible with oil pastels alone. To enhance the definition, we purposely left some of the paper showing through.
Sets Available:
| 48 colours |  60 colours |  72 colours |
What do the symbols mean that are printed on the paper sleeve?
The paper sleeve displays the colour name, pastel number, star rating for lightfastness, and opacity level. Additionally, it provides the pigment codes that explain which pigments were mixed together to produce each oil pastel colour.
Unfortunately, these pastels are not currently available as open stock, which is a significant issue for a pliable medium like the oil pastel. The necessity of accessing additional colours is fundamental to the product's longevity. While large pastels are now available for purchase either as sets or individually, the standard sizes remain unavailable at this moment in time for individual sale.
Unfortunately, these pastels are not currently available as open stock, which is a significant issue for a pliable medium like the oil pastel. The necessity of accessing additional colours is fundamental to the product's longevity. While large pastels are now available for purchase either as sets or individually, the standard sizes remain unavailable at this moment in time for individual sale.
Final thoughts
If you're new to oil pastels, starting with a set like this would be a good option. However, it's worth noting that they are creamier than most student-quality oil pastels, which you may find awkward at first. These oil pastels are perfect for creating impasto work because they are incredibly soft and creamy, with opaque colours that are ideal for this type of application. However, if you're going to create high-quality artwork for clients, we suggest using these in conjunction with artist-quality pastels.
At this price, they would make an excellent addition to your oil pastel collection, and it won't break the bank if using them to practice your techniques or create art to reproduce into prints.
At this price, they would make an excellent addition to your oil pastel collection, and it won't break the bank if using them to practice your techniques or create art to reproduce into prints.
Additional products available
Paul Rubens has expanded their product offerings since the initial publication of this article. Previously, we noted that they did not sell pastels individually; however, they now offer boxes of standard pastels, which include sets of eight pastels of a single colour (with 10 colours available out of a total of 72). Additionally, individual large oil pastels can now be purchased, as well as sets of 12 colours. While the availability of sets is beneficial for those who frequently use specific colours, such as white and black, it may be less practical for customers who only require one shade of green or blue, leaving the remaining pastels unused in a drawer. It would be advantageous if the company offered each colour for sale individually in both standard and large sizes.
About the Paul Rubens company
COMPANY HISTORY
- 2008 Paul Rubens art supply brand was established.
- 2008 Paul Rubens' 1st generation of artist-grade oil paints was successfully developed
- 2012 saw Paul Rubens' 1st generation of artist-grade watercolours successfully developed (launched in 2014)
- 2014 saw the 2nd generation of Paul Rubens artist-grade oil paints launched
- 2015 - 2016 Pearlescent solid watercolours were first launched and the 2nd generation of artist-grade watercolours were researched and developed, plus Paul Rubens' watercolour paper products, watercolour brushes, and watercolour auxiliary tools.
- 2016 - 2017, successfully developed the Paul Rubens star product, the artist-level 3rd generation "fresh new solid watercolour"
- 2018, the 3rd generation of Paul Rubens artist-level oil painting (blue packaging) was developed, and a series of alkyd resin products
- 2019, the Paul Rubens watercolour auxiliary material white ink was successfully launched
- 2020, Paul Rubens artist-grade oil painting colours (black packaging) launched
- 2021, the Paul Rubens oil pastel series officially launched
- 2022, Paul Rubens 4th generation of artist-level watercolour released
- Who is Paul Rubens? Is he a real person? Paul Rubens is just our brand name, not a pastel artist.
- Where is the company based? We are based in China
- Do you make your own products? The Paul Rubens company makes our own products. After several trials and visits to many artists, the founder of our brand went to Germany, Belgium, the Netherlands and other birthplace of oil painting, and finally established the brand Paul Rubens.
- Do they contain any animal products? No
- Are there any beeswax in this product? No
- Are they lightfast? Yes. Note the star ratings on each colour.
- What other art products do you sell? Watercolours and brushes, Oil paints, Soft Pastels, Oil Pastels, Acrylic paints.
- Do you have a website? Yes; Lightwish Art (lightswish.com)
- Do you have a social media account? Instagram
- Where can I buy your products? Visit the Amazon store here > >
- Where can I buy this set? HAIYA oil pastels 48 set
DISCLAIMER:
It is worth noting that we do not receive a commission for any products sold through this review. In this particular case, we were fortunate enough to receive this set without charge. We are committed to providing an impartial review of the product, and our opinions are based solely on our own experiences and observations.
It is worth noting that we do not receive a commission for any products sold through this review. In this particular case, we were fortunate enough to receive this set without charge. We are committed to providing an impartial review of the product, and our opinions are based solely on our own experiences and observations.
Karen M Berisford - The Tutor
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Karen M Berisford
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