Our newsletter has dropped and we have four new articles, including a brand new medium for our mini tutorials section, the oil pastel. If you haven't tried oil pastels, we would highly recommend you give them a go. Our new tutorial only takes 10 minutes to create a highly effective piece of work, and maybe you will fall in love with the medium too? We certainly love them!
We like to cover a different medium or product, in each article, so this quarter, we provide a list of blending tools for soft pastel artists, a selection of black papers for artists who enjoy working on a dark surface. We have chosen various surfaces and brands, suitable for numerous mediums, not just pencils.
Finally, we have updated the Prismacolor pencil artist. We really delved deep into the history of these pencils and believe us, these pencils have a great history. They span over a hundred years! We also discuss what these pencils can achieve, as we are aware that they are a favourite of many coloured pencil artists.
Click on any of the images below to visit the article and have a read. Why not grab a coffee, as we do throw lots of information into our articles, so we hope you enjoy them.
About the Prismacolor pencil
Somerset is a very popular grade of printmaking paper from the historic St. Cuthbert’s Mill in the UK, first introduced in the early 1970’s. In addition to its popularity in printmaking, Somerset found success as a wonderful drawing paper due to its soft handle and supple feel. Made with improved black pigments, Somerset Black has a deep, warm shade combined with a soft velvet surface. The internal structure of the sheet exhibits even darker fibres, which gives dramatic results, especially when laser etched. It is made to archival standards from 100% cotton and is fade resistant to the Blue Wool scale 6+. Mould made from 100% cotton to high archival standards.
Read our Somerset article.
Company: St. Cuthbert's Mill
Texture: Velvet (Like NOT surface)
Composition: 100% Cotton
Suitable for: Pastel, pencil and charcoal. Block/relief printing, embossing, intaglio/etching, hand/stone lithography, laser printing, letterpress and silkscreen/serigraphy.
Sizes available: Sheets only (30" x 22" & 30" x 44")
Company base: UK
Accessibility: Limited suppliers.
UArt Black paper
UART Premium Sanded Pastel Paper accepts a wide variety of wet media for underpainting without compromising or damaging the tooth. The company states that you can add layer upon layer, correcting and creating, without impairing the surface of your artwork. From the toothiest grade (240), which is ideal for blending and layering, to the finer grades that are perfect for delicate and detailed work. You can add layer on top of layer without losing tooth. The abrasive surface eliminates the need for fixatives. The colour of the paper fluctuates depending on which grades you are using: while the 400 & 500 grades provide a rich black texture, the 600 & 800 grades lean towards a dark charcoal colour, as the higher the grade, the smaller the pigments. UART employs a state-of-the-art manufacturing process that ensures a consistent grain application on every inch of the paper.
Read our UArt dark paper article.
Grades: 400/500/600/800 (Abrasiveness)
Composition: Unsure - This is a sandpaper
Suitable for: Pastels, Pencils, Charcoal, Watercolour, and Conté. Accepts all wet media (alcohol, mineral spirits, turpentine, water) for underpainting.
Sizes available: Sheets, Mounted boards and rolls.
Company base: New York, USA
Accessibility: Accessible in various countries
Stonehenge was created in 1972 specifically as a 100% cotton deckled paper for the printmaking community. Over the years, it has gained worldwide recognition as a paper that works well across a range of other fine art applications. The paper of choice of many members of the Colored Pencil Society of America, Stonehenge has the ability to take multiple layers of wax-based and oil-based coloured pencil without any buildup, allowing colours to penetrate and absorb into the surface of the sheet. Neutral pH and no optical brightening agents (OBA's can cause fading).
Read our Stonehenge article.
Composition: 100% Cotton
Suitable for: Coloured Pencil, Pen & Ink, Pastel, Charcoal, Watercolour, Hand Lithography, Intaglio, Letterpress, Offset, Relief Printing and Silkscreen
Sizes available: Sheets & rolls
Company base: USA
Accessibility: Easier to access in the USA
Velour paper is an artist quality pastel paper with a velvety texture that grips soft pastel and give them a delicate soft edge. Hahnemuhle Velour is an artist-quality 260gsm pastel paper which is both acid-free and archival. It is composed of an acid-free backing sheet which is coated with inert synthetic fibres. This gives the surface a velvety feel which has sufficient tooth to hold soft pastel, as well as oil pastel, charcoal or soft pencils. Velour can hold a lot of pastel, so it is perfect for painterly pastel artists who create works with soft edges and is particularly suited to pet portraiture.
Suitable for: Soft & Oil pastel, soft pencil, Charcoal and Conté crayons.
Sizes available: Sheets and pads
Company base: Germany
Accessibility: Although not widely available, it is accessible online.
Stonehenge Aqua Black Watercolour paper is a cotton paper with excellent wet-on-wet performance. Paint can be easily manipulated without drying up. Like any other top-quality watercolour paper, it withstands repeated wetting/drying with no damage to the paper. The paper allows for easy lifting and blending and ensures you have excellent control of your colours.Colours won't blur, bleed, or mix in undesirable ways like other black papers can. It holds multiple layers of colour and holds up to masking and scrubbing.
Texture: Hot pressed and NOT
Composition: 100% Cotton
Suitable for: Coloured pencils, Pen & Ink, Pastel & Charcoal, Metallic/Interference/Iridescent paint, Gouache, Acrylics, Watercolour, Watercolour pencil, Pigment sticks, Markers, Calligraphy, Intaglio, Letterpress and Silkscreen.
Sizes available: Blocks, pads and sheets
Company base: USA
Accessibility: Available but easier to access in the USA
Colourfix papers are sheets of high-quality, archival 300gsm hot pressed European watercolour paper, screen printed with Colourfix Primer. The natural, toothy surface will hold multiple layers of pastel without the need for fixative, allowing the velvet bloom and vibrant colour of pastel to be preserved. Erasing is also easy with Colourfix™ – simply lift off excess pastel with clear adhesive tape, brush off with a dry brush, or use a pencil eraser. Alternatively, errors can be overpainted or areas touched up with the matching colour of Art Spectrum Colourfix™ Primer. The tough, toothy surface can be sanded, scrubbed, soaked and reworked over and over.
Read our Colourfix smooth article.
Company: Art Spectrum
Texture: Fine (Smooth), Medium (Original) & Rough (Supertooth) surfaces
Composition: 100% Cotton and primer
Suitable for: Pastels, oil colours, acrylics, inks, oil pastels, gouache, watercolours and dry media such as charcoal and pencils.
Sizes available: Sheets and pads
Company base: Australia
Accessibility: Available across many countries.
Tiziano pastel paper
Tiziano is a high rag content, acid-free, pH neutral and with high archival permanence. The colours are highly lightfast. It is a cold press surface, containing cotton. Tiziano is Acid Free, produced with ECF pulp (Elemental Chlorine Free), FSC® certified from forests responsibly managed respectful of environmental, social and economic standards. Particularly suited to soft and oil pastels due to its good pigment uptake.
Composition: High rag content
Suitable for: Pastel, pencil, graphite, charcoal and airbrush. Can also be used with all printing techniques.
Sizes available: Sheets, pads and rolls
Company base: Italy
Accessibility: Easily accessible
Vegan: Yes (Synthetic sizing)
Canson Mi-Teintes Touch Paper is particularly suited to soft and oil pastels as well as pencil, but is also suited to wet techniques and acrylics. The Touch Paper is micro-abrasive with a finely textured, sandblasted finish. It is lightfast and age-resistant. The innovative surface holds the pigments and creates the possibility of superimposition of colours and colour mixing. Colours are rendered remarkably, and fine details stand out.
Read our Mi-tientes Touch article.
Texture: Abrasive surface (Medium)
Composition: watercolour paper and a primer
Suitable for: Pastel, sanguine, charcoal, chalk and acrylic.
Sizes available: Sheets & Pads
Company base: France
Accessibility: Not as accessible as its pastel paper
Vegan: No. (sized with gelatin)
Mi-tientes pastel paper
This paper is a pulp-dyed colour paper that contains more than 50% cotton. It has the advantage of having a different texture on either side: a honeycombed side; and fine grain on the other. It has 50 light-resistant tones including the black. Pulp-dyed, colours are light-resistant and its high cotton content makes it both robust and flexible. Complies with ISO 9706 standards on permanence, to guarantee excellent conservation. It is acid-free and has no optical brightness additives (OBA's can cause fading).
Texture: 2 sided - Fine and Textured (Like NOT paper)
Composition: Cotton rag (50% cotton)
Suitable for: Pastel, charcoal, sanguine, pencil, even watercolours and gouache. Handicrafts such as folding, cutting, gluing, making cards, etc.
Sizes available: Sheets, rolls and pads
Company base: France
Accessibility: Easily accessible
Vegan: No. (sized with gelatin)
Derwent Black Mixed Media paper (New)
The Derwent Professional black paper pad is ideal for creating dramatic art with a variety of media types. This fine grain, smooth paper offers artists a dramatic backdrop that maximises the performance of metallic mediums, including metallic and opaque pencils, paints and inks. The heavyweight 300gsm composition provides a sturdy and reliable foundation of the highest quality for both wet and dry media, differing from other Derwent black paper surfaces that suit dry media only.
Composition: 100% Recycled
Suitable for: Pens, pencils, markers, inks. Wet and dry media.
Sizes available: A4 Pad only
Company base: UK
Accessibility: New product 2022 - Derwent sell their products worldwide.
Frisk Black watercolour paper
Rough textured paper, keeps colours clean and bright. Wash and blend with all grades of watercolour. Extremely effective results with opaque, metallic and interference colours. Also available as a mixed media pad and a canvas pad.
Suitable for: Watercolour, pens, pencils, markers and brushes
Sizes available: Gummed pads (A6, A5, A4, A3)
Company base: UK
Accessibility: Products sold internationally
Sakura Sketchbooks and Notebooks are suitable for all ages, and for both experienced and aspiring artists. The hardcover book comes with a pen holder that perfectly fits pens such as the Pigma Micron and Sakura Gelly Roll. In the back of the Sketch notebook, an expandable envelope is included for storing sketches and notes. The elastic closure band ensures the book stays closed and compact when travelling.
Company: Royal Talens
Composition: Acid free
Suitable for: Ink, pencil, oil pastel & charcoal
Sizes available: Notebook only (5 sizes)
Company base: Netherlands
Accessibility: Accessible online
Which black paper surface do you prefer?
What is your favourite black paper not on this list and what medium do you use with it?
Any hints and tips for artists using black paper with a particular medium?
Please share your thoughts and ideas in the comments below, so we can help inspire other artists.
Check out our list of the ten best tools for mixing pastels.
Sponges are the most widely used tool for mixing soft pastels. These come in different shapes and sizes. Many art companies and stores sell them specifically for the artists, but you can just as easily use make-up sponges from the local health and beauty store.
How to Apply:
Apply 2-3 shades of pastel to the paper prior to mixing. To ensure a smooth coverage, mix with circular movements. Around small zones, use the wedge or the tip of the sponge.
Good: Washable, providing longevity
Bad: May tear when used on highly abrasive paper
2. Blending stumps/ Tortillions
Blending stumps and tortillions are made from tightly packed paper, rolled into a pencil shaped tool. The fine tips allow you to blend very small areas or push the pastel around to create or smooth out thin lines.
How to apply:
To create smooth mixes, blend in circular motions with the tip or side of the stump. Use excess pastel on the tip to introduce extra pigment to another area of your paper.
Good: Low cost, can be 'sharpened' to remove the dirt
Bad: Quickly dirtied, Short life span, easily ripped and torn
3. Pan Pastel Softt tools
Sofft tools are made from a specially formulated micropore sponge. Each has a unique shape and size, useful for application and blending your pastels. Replacement sponges are available for each tool, which are re-usable and easy to clean.
How to apply:
Rub the sponge across the pastel and apply to your paper. Can then be blended
Good: Re-usable. Economical. Easy to clean.
Bad: You will need to clean or change your sponge when moving between dark to light grades, to avoid muddying your colours.
4. Colour shapers
Colour Shapers are a unique tipped tool made from silicone and used for pastel blending, but can be used with other mediums too. The tip will not absorb any material, and so is great for applying, removing, scraping and moving around colour. The durable tips are made of an advanced rubber composite. The tool can help you blend pastels or push it round the paper to create texture. For best results, search for the softer tips when blending soft pastels, as it may lift your pastels from the paper if they are too hard. Blue and ivory coloured tips are softer and more suited to blending pencil, pastel & charcoal. Darker colours are much firmer and suited to other mediums such as clay.
How to apply: Ensure you have enough pigment on your paper before choosing the tool of choice and then gently blend the pigments together.
Good: Long life, easy to clean. Easy to hold
Bad: May not be ideal on highly abrasive paper
5. Pastel applicators
Sponge wands like these are useful for blending small areas of pastel. You may find packs specifically made for this technique called 'Sofft Mini sponge applicators' from the Pan Pastel company, but general art stores may sell them too. As an inexpensive replacement, you can purchase a pack of eyeshadow wands from your local health and beauty store, but the sponge will unlikely be of the same quality and may tear easily, but may be worth a try.
How to Apply: Add 2-3 shades of pastel to the paper prior to mixing. To ensure a smooth coverage, mix using circular motions.
Good: Economical. Precise application.
Bad: May be hard to hold, especially for those who have issues with their hands. Only suitable for blending small areas.
6. Colourless blender
The PanPastel Colourless Blender is a medium that can be used for a variety of new effects, including increasing transparency and enhancing colour “flow”. It does not change the colour of the pigments, it just allows you to soften the flow of the application or create a more transparent mix.
How to apply:
It can be used before colour is applied (under the colour), or mixed with the colour once it is applied. "
Good: Easy to mix, non-crumbly. Low dust and less waste.
Bad: To be updated
Using a short flat brush to blend your pastels will create soft edges with more precision. As the bristles are short, they tend to be sturdier and will allow more control. Select the correct brush size for each area, but ensure you clean off excess pastel after use to avoid mixing colours together and muddying them.
How to apply: After you have applied your layers, gently brush the pastel outwards to soften, or in a rotational direction to soften hard lines.
Good: Firm application. Targeted application.
Bad: Abrasive paper may break the hair in the brush.
Many pastel artists will at some point, have used their fingers to blend pastels. This is a quick and easy way to blend larger areas, but not for smaller areas. It is also messy and can muddy colours if you do not remove the previous colours from your fingers. Use a damp cloth to remove pastel from your fingers between colours and always dry your hands with a towel before moving onto mixing the next colours.
How to apply: With clean hands, use one or more fingers to mix your colours together. Blend using circular motions to fill in the peaks of the paper and create a smooth looking layer.
Good: Cost-free, quick and easy
Bad: Messy applications. Abrasive paper can damage your skin.
9. Cotton buds or Q-tips
Cotton buds have many uses for an artist and are extremely cheap to buy. The tips can be used to blend small areas of your pastel drawing and are easily disposed of after you have finished with them.
How to apply: Blend using circular motions over layers of pigment, to ensure they provide smooth coverage.
Good: Low cost and economical.
Bad: The plastic ones are not environmentally friendly. Search for the Eco friendly type.
The cotton tips may also get stuck on abrasive paper, and may not be ideal for every piece of work you create.
10. Pastel on pastel
You don't always need a special tool to blend your pastels, as layering one over the other, can help to blend the pigments together. Highly effective when using softer pastels, but can be achieved with hard pastels too. The effects will vary depending on which paper or surface you use. Smoother surfaces may not blend as effectively as an abrasive one.
How to apply: Lay down one colour after the other and push the pastels into the peaks of the paper. Lighter applications will allow for more layers.
Good: No extra tools are needed.
Bad: May not create an even blend of colour.
What products do you use to blend soft pastels?
Do you have other product suggestions we haven't included here?
Please share your own hints and tips with us in the comments section below.
Graphite pencils for beginners
Having overhauled the original article, it's worth checking out (again) if you are new to graphite.
What makes these pastels so special? We share our findings in this article.
Are you an artist, looking for suitable paper? Find out more. Ideal for pastel artists and can be used for other mediums too.
Blending with coloured pencils
If you are a coloured pencil artist and want to learn how to create smooth blends, this article offers lots of hints and tips.
New tutorial for coloured pencil artists
Our latest tutorial shows you how to draw a Hare.
You can click any of the image below to visit each article.
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Are you thinking of trying graphite pencils but unsure what you need or where to begin? Which brands should you buy? We have put together a comprehensive article for artists like you who are looking for some guidance. It can be overwhelming when there’s so many products available but we have broken it down into sections to provide you with lots of useful information.
Our current favourite product is the Sennelier oil pastel. Creamy, highly vibrant and great fun to work with. Perfect for use on the pastelmat paper too!
Great on its own for drawing really moody pictures or use it with other graphite media like Graphic or Sketching pencils to add dense shade and tone.
We have created two tones, medium and dark, but it is easy to build up darker shades if you need them by increasing the pressure. The wide strip can be easily sharpened and will hold a fine point, perfect for capturing the detail in drawings!
Taken from the Derwent website - www.pencils.co.uk
These Onyx pencils were created by Derwent to add darker shades to their graphite pencil ranges.
You don't need the full range of graphite pencils to create effective art, and this set, comprising only of a Medium & Dark grade would be ideal for those on the go, who like to sketch out in the field or those who prefer the minimal amount of art supplies (I'm sure there's some artist out there like that!?)
In this article, we explore the possibilities of these pencils and their characteristics.
Derwent Graphic v's Derwent Onyx tonal chart
As you can purchase these pencils for under £2.00 each, we decided to buy them and try them out ourselves.
We created a chart below, comparing the grades of the Derwent graphic range and the Derwent Onyx pencils. We include it here so you can see the difference for yourself. We applied the pencils as heavily as possible to ensure the darkest tones were replicated.
Personally, we do not feel that the Dark grade is darker than the Graphic 9B, but what do you think?
What are your personal experiences with these pencils?
Do you use them exclusively or in conjunction with other brands?
Do you find them useful?
Let us know in the comments section below.
I received an email from the online art store Cassart, notifying me they had a sale on their daylight lamps, an ideal time to replace my old one and get a brand new one for a good price. After much deliberation, I chose the Lumi LED task lamp. It looked sleek and with a 20" wide head and I knew it would provide more light than my previous model.
Here, I offer my thoughts on this product.
The 'on' button is found on the top of the light. It offers two levels of brightness which can you can adjust by pressing the button twice.
Although the LED lights cannot be replaced which may concern some people, they provide over 50,000 hours of usage. Continuous usage at 8 hours a day, 5 days a week means your light could last around 24 years so this does not seem much of an issue after all. LED lighting also uses less power than bulbs whilst emitting the same amount of light. They are less susceptible to breakage and last far longer than a traditional bulb.
| || |
My personal rating: 8/10
For anyone interested, here is my old light - now a discontinued model.
My previous studio light also from the Daylight Company, was the D33200 model which was released in 2008. It had a heavy duty, flexible gooseneck arm with a metal clamp which attached safely to an easel or flat surface. The circular light could rotate 360° allowing you to direct the light in the area needed most. Previous to the LED light system of today, the daylight lamps in this range used low energy daylight bulbs which you could replace. I bought my D33200 light in 2010 and the 18w bulb (D13621) lasted almost as long as the light. An 18w bulb was the equivalent to an 100w bulb. Having used it for 12 hours a day, 5 days a week on average, the bulb provided up to 30,000 hours of usage.
To access the bulb, you had to remove the four chunky screws from the plastic cover and then slide off.
Comment below and share your experience
Spotlighting Art-n-Fly - Art-n-fly is an affordable oil-based coloured pencil which is covered in this edition. There is a link to a You Tube video demonstrating these pencils used with Art-n-fly alcohol markers.
Finding the Unique You - Alexandra Zeres showing her artwork framed in flowers, birds and butterflies
Creating Prints of Your Art - Learn how to navigate the options in order to get started printing and providing your followers and fans with gorgeous prints of your artwork.
Hare Tutorial - Workshop series by Karen M Berisford
Pairing with Pitt Pens - Sara Ostlund compares the pros and cons of using the Faber-Castell Pitt artist pens with your coloured pencils. Follow her demo to try it for yourself.
Creating a Beautiful Layout - Learn how to create beautiful layouts by Erin McManness in an excerpt from the book of the month.
Sketchbook - See what's new and in the news
Challenge Met Gallery - Artwork of 18 artists who undertook every monthly art challenge in 2020 and won themselves a free digital subscription.
plus Selfie challenge and December art challenge winners.
Featuring: Ambro Jordi
Ambro brings animals to life when he puts pencil to paper. Learn how he went from pursuing a career in animation to one in fine art. Read how he enjoys sharing his knowledge with others and offering words of encouragement.
FREE Art-n-Fly Oil-Based Colored Pencil inside the USA Print Issues only - While Supplies Last
Price: USA $3.99 UK £2.87* Euro €3.31*
*Price may vary due to exchange rate when you purchase.
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About the reference image
My partner John Graham photographed this Hare back in October 2019. It was very inquisitive. Whilst John sat motionless on the ground; the Hare came closer, allowing him to capture this image and the second one below.
This high definition photo can be used as a reference during the construction of your drawing.
If you haven't read this magazine before, you may find it a valuable resource as not only does it provide plenty of data on coloured pencils, it occasionally covers other mediums like pastel pencils and marker pens. There is an abundance of articles offering hints and tips, tutorials like this Hare above, regular competitions, a peek into the lives and studios of other artists and even guidance on the art business. They also have Facebook, Twitter and Instagram pages too so you can get involved in those competitions wherever you are in the world - I even had a go myself a few years ago!
Jackons's Uncradled Gesso Panel provides artists with a pre-prepared fine tooth surface that’s ideal for all painting styles, including oil paints, acrylics and mixed media. It features a professional acid-free gesso ground that is lightly textured, professionally applied to warp resistant, sturdy, tempered panels.
Jackson's Uncradled Gesso Panel's are available in Grey and Umber in sizes from 4 x 4 in to 24 x 36 in
Comparing Ampersand Gessobord and Jacksons Art gesso board
4" x 4"
5" x 5"
6" x 6"
5" x 7"
6" x 9"
8" x 8"
6" x 12"
8" x 10"
9" x 12"
10" x 10"
11" x 14"
12" x 12"
12" x 16"
12" x 24"
14" x 18"
16" x 20"
18" x 24"
18" x 36"
24" x 36"
Click the link below to find out more about this product at Jackson's Art (Local, national and international deliveries available)
Available colours are the same as the standard Colourfix options which you can view HERE
Art Spectrum® Colourfix™ Smooth is manufactured by screen printing Colourfix™ Smooth Primer onto European Archival 300gsm Hot Pressed watercolour paper making 340gsm pastel paper.
Colourfix™ Smooth is a versatile surface that can be used for pastels, oil colours, acrylics, inks, oil pastels, gouache, watercolours and dry media such as charcoal and pencils.
The Colourfix™ Smooth texture is ideal for pastel artists who are looking for a not so toothy surface. The surface still has enough soft tooth to enable the artist to do multiple layers of pastel.
Colourfix™ Smooth is available:
Colours: 20 (As the Colourfix standard)
Sheet sizes: 23 x 30cm (9” x 12”) and 50x70cm (20” x 28”) 10 sheets per pack.
Rainbow packs available in 23 x 30cm (9” x 12”)
Cool and Warm packs in 23 x 30cm (9” x 12”) size
How does the Colourfix smooth compare to Pastelmat?
Violet flower on Colourfix smooth paper
**NEW** COLOURFIX™ OPTIMUM BOARD
ORIGINAL (MEDIUM) TEXTURE
Unlike the Pastelmat surface, who has their own version which includes the foamcore (and was the first to offer this type of surface I believe?), the Colourfix surface also includes a thin layer of aluminium to prevent warping.
Art Spectrum® Colourfix™ Optimum Board is a high density archival and acid free foamcore board, hand screen printed with Art Spectrum® Colourfix™ Primer..
The secret that separates this board from all others is a super thin layer of Aluminum within the board that prevents warping and helps provide this substrate’s lightweight and sturdy characteristics.
Colourfix™ Optimum Board has a robust toothy surface that will hold layers of pastel without the need for fixative, allowing the velvet bloom and vibrant colour of pastel to be preserved.
The new Art Spectrum® Colourfix™ Optimum Board comes in 6 lightfast colours all with the Original Colourfix™ tooth. It is a superb substrate for pastels, oil colours, acrylics, inks, oil pastels, gouache, watercolours, and dry media such as charcoal and pencils.
Colourfix™ Optimum Board is available in 16 x 20” and ready to be framed without the need for a backing board.
What else you should know about this board:
The substrate board is acid free containing no lignin’s.
The glue used in this product is also acid free.
Aluminum thickness: 6.3μm
Colours available: White, Soft Umber, Terracotta, Rose Grey, Blue Haze and Deep Black.
Also available Rainbow Pack which includes one sheet of each colour
Karen M Berisford
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Dogs Eye In Graphite Pencil Tutorial#
Drawing A Hare
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