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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.
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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.
Having received an email today from GOLDEN, who discontinued their Polymer varnish range in 2021, they have now launched its replacement, the Waterborne Varnish (only gloss is available at the moment). So, what happened?
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Why have GOLDEN discontinued their Polymer varnish range?
On May 4th 2021, GOLDEN stated on their website:
" Due to a raw material shortage, we are currently unable to produce our Polymer Varnishes (all sheens). We are working with suppliers to understand when these materials may be available again to resume production, but at this time, the shortage is expected to last through at least June (2021) "
" Due to a raw material shortage, we are currently unable to produce our Polymer Varnishes (all sheens). We are working with suppliers to understand when these materials may be available again to resume production, but at this time, the shortage is expected to last through at least June (2021) "
It appears that the issue could not be resolved and Golden had to create a replacement product. This is an ongoing project.
March 2023 - GOLDEN states:
" First, we are excited to introduce our newly formulated Waterborne Varnish. After a raw material discontinuation forced us to halt production of Polymer Varnish in 2021, we fielded a number of artist requests for waterborne varnish for use on interior acrylic paintings (which can be applied without the need for harsh solvents for thinning, cleanup or removal, or ventilation and other precautions necessary when working with mineral spirit varnish.)
Gloss Waterborne Varnish is shipping now to retailers in the US and we're eager to get it into artist studios! Be on the lookout for updates later this year as a Matte sheen is currently in development. "
" First, we are excited to introduce our newly formulated Waterborne Varnish. After a raw material discontinuation forced us to halt production of Polymer Varnish in 2021, we fielded a number of artist requests for waterborne varnish for use on interior acrylic paintings (which can be applied without the need for harsh solvents for thinning, cleanup or removal, or ventilation and other precautions necessary when working with mineral spirit varnish.)
Gloss Waterborne Varnish is shipping now to retailers in the US and we're eager to get it into artist studios! Be on the lookout for updates later this year as a Matte sheen is currently in development. "
So, what is the waterborne varnish?
GOLDEN Waterborne Varnish Gloss is a water-based, acrylic polymer varnish with Ultra Violet Light Stabilizers [UVLS]. Waterborne Varnish protects interior acrylic paintings from dust and ultraviolet light. It can be thinned and cleaned up with water, eliminating the need for harsh solvents, and can be removed with household ammonia to facilitate cleaning and conservation.
An isolation coat between the paint and varnish is recommended, to reduce interaction during varnish application or removal.
An isolation coat between the paint and varnish is recommended, to reduce interaction during varnish application or removal.
- Do not use on oil paintings or any artwork intended for outdoor display.
- Do not use on functional objects (such as furniture).
- Do not apply acrylics or oils over Waterborne Varnish.
Application & After care:
Only one layer of GOLDEN Waterborne Varnish should be applied over a layer of Isolation Coat, which will sufficiently create a uniform surface. Always allow at least 24 hours between coats to reduce the chance of reactivating the underlying layer.
Please note the MSA varnishes are still available.
- Allow one week after last varnish coat before handling/packing/shipping.
- Avoid stacking of artwork and any direct contact with any materials during shipping or storage.
Please note the MSA varnishes are still available.
Our newsletter has dropped and we have three new articles now available.
We like to cover a wide range of mediums and products in each article, so in this newsletter, we explore the Chromaflow coloured pencil range, the latest pencil produced by Derwent. Do we have a UK Prismacolor Premier pencil finally? Our second article covers the creamy oil pastels by Sennelier. Even if you don't work with oil pastels, you may find this article interesting, and you may even decide to try them yourself.
Finally, we have the latest tutorial for soft pastel artists. If you haven't tried soft pastels before, we highly recommend you give this tutorial a go. It's so easy and you don't need any previous experience to make a brilliant piece of art.
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!
We like to cover a wide range of mediums and products in each article, so in this newsletter, we explore the Chromaflow coloured pencil range, the latest pencil produced by Derwent. Do we have a UK Prismacolor Premier pencil finally? Our second article covers the creamy oil pastels by Sennelier. Even if you don't work with oil pastels, you may find this article interesting, and you may even decide to try them yourself.
Finally, we have the latest tutorial for soft pastel artists. If you haven't tried soft pastels before, we highly recommend you give this tutorial a go. It's so easy and you don't need any previous experience to make a brilliant piece of art.
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!
Derwents' new coloured pencil range
The Chromaflow pencil was released in June of 2021, initially in the USA and India and then the UK and the rest of the world, the following year. Derwent is a company, that has produced quality products for over a century and a half, so we would expect this new range to meet all the usual standards, but do they?
In this article, we analyse the quality and application of the pencils. Did we find the same quality that we have come to expect from Derwent?
We provide information from our own research, as well as reviews by other artists', found online. See how they compare to other brands, in particular with the highly popular Prismacolor Premier pencil, but with Derwents' other lines too.
In this article, we analyse the quality and application of the pencils. Did we find the same quality that we have come to expect from Derwent?
We provide information from our own research, as well as reviews by other artists', found online. See how they compare to other brands, in particular with the highly popular Prismacolor Premier pencil, but with Derwents' other lines too.
Sennelier collaborated with Picasso to create this lightfast oil pastel range
The Sennelier (pronounced Sen-el-EE-A) oil pastel is creamy, with an extraordinarily high pigment content, providing vivid colour and excellent covering potential and brilliance, with a high degree of light stability. Oil pastels are comprised of pigment in a non-drying binder of oil and wax, which is formed into a compact stick. Like soft (dry) pastels, alternative brands offer diverse combinations of binder, oil and wax, which make them soft or hard. The Sennelier Oil Pastels use the same high quality pigments and high pigment loads as their other lines, combined with a pure, synthetic binding medium and mineral wax.
In this article, we explore the possibilities of this compelling brand and the rich history of the company. We discuss best practices, delve into lightfast properties and provide recommendations on effective accessories. Finally, we share the feedback of other users and our own thoughts on this product. Even if you have never used oil pastels before, this article may inspire you to give them a go.
In this article, we explore the possibilities of this compelling brand and the rich history of the company. We discuss best practices, delve into lightfast properties and provide recommendations on effective accessories. Finally, we share the feedback of other users and our own thoughts on this product. Even if you have never used oil pastels before, this article may inspire you to give them a go.
New tutorial - Poppy field on black base for soft pastel artists
This is a tutorial created for the soft pastel artist. You may be a complete novice, unsure where to begin on your journey, or an intermediate looking for more knowledge.
Pastels are a quick and easy medium, making them ideal for the absolute beginner. We provide a simple breakdown of how to create an eye catching landscape of these sun-kissed poppies. We show you how to build the foundations and offer practical techniques. By providing images and descriptions, we offer an easy to follow guide for every artist.
You may just wish to pass the time with a box of pastel and a cuppa, simply because you like the composition. Wherever you are in the process, we encourage you to embellish as much as you want, or keep it as simple as we have. Why not give it a go?
Pastels are a quick and easy medium, making them ideal for the absolute beginner. We provide a simple breakdown of how to create an eye catching landscape of these sun-kissed poppies. We show you how to build the foundations and offer practical techniques. By providing images and descriptions, we offer an easy to follow guide for every artist.
You may just wish to pass the time with a box of pastel and a cuppa, simply because you like the composition. Wherever you are in the process, we encourage you to embellish as much as you want, or keep it as simple as we have. Why not give it a go?
Are you a graphite artist, or trying graphite pencils for the first time?
You don't need a large assortment of products. If you enjoy drawing outdoors, you can travel light, with no need for solvents and little to no mess.
The pencils are the most important part of the graphite toolkit, but they are more effective when combined with other products. In this blog, we discuss the five essential accessories for the graphite artist. If you are new to graphite pencils, you may prefer some over others, conditional on the style of your work. Let's take a look at them.
You don't need a large assortment of products. If you enjoy drawing outdoors, you can travel light, with no need for solvents and little to no mess.
The pencils are the most important part of the graphite toolkit, but they are more effective when combined with other products. In this blog, we discuss the five essential accessories for the graphite artist. If you are new to graphite pencils, you may prefer some over others, conditional on the style of your work. Let's take a look at them.
ERASERS/RUBBERS
Erasers are a must for any artist. Not only are they useful for erasing mistakes from your work, they can also be used as part of the creative technique. Highlight areas by erasing, lifting and softening the graphite to achieve the correct definition needed. An eraser is essential, but search any online art store and you will find so much choice. You may see it as overkill, and to a point, you are correct. Many art companies market similar products which they endorse for their own product ranges, so deciding which is the better option can be overwhelming.
Although we don't lean towards any particular brand, we provide images of the products we use ourselves, or have chosen purely for representation.
We discuss five different styles of eraser, that, depending on your artistic style, could be of interest to you. Do let us know in the comments section at the bottom of this page, what your personal favourite eraser(s) is and why.
Although we don't lean towards any particular brand, we provide images of the products we use ourselves, or have chosen purely for representation.
We discuss five different styles of eraser, that, depending on your artistic style, could be of interest to you. Do let us know in the comments section at the bottom of this page, what your personal favourite eraser(s) is and why.
standard eraserThis style of eraser is most commonly used. The corners, edges and the flat surface can be used wherever you need to erase. Choosing a dust-free option minimises dust drop, and is safer. These erasers do not contain any harmful phthalates (chemical compounds), but contain a mixture of balanced plastics.
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Kneadable putty rubberKneaded erasers have great flexibility, allowing you to stretch, compress, split, and mould it into shape to achieve precision. You can create highlights, clean edges and trim lines during the drawing process. You may struggle to remove dark marks, and they can also smear or stick if they get too warm.
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PENCIL RUBBER
The Perfection Eraser Pencil is an eraser core in a wood-cased barrel. It is ideal for detailed erasing. The white end erases ink. The pink end erases graphite and coloured pencil.
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PEN ERASER
The refillable precision eraser Mono Zero Classic erases fine lines and small detailed corrections, where precision is essential. The classic version is available with round and rectangular tips.
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the must-have eraser
Battery powered eraser
If you like detail, a battery powered eraser is the most useful tool to have in your arsenal. Use this alongside other erasers, to get the very best out of your work. There is no other eraser on the market that removes pencil from paper, like a battery powered eraser. It lifts almost all pencil from your paper, removing marks effortlessly, and doing all the hard work for you, leaving you to concentrate on accuracy. We highly recommend you practice how to hold and control this product before trying it on important work, as it is quite powerful!
 |  The white hairs were created with the battery powered eraser |
 | soft brushAvoid touching your paper with your hands. The natural oils in your skin can transfer onto the paper, leaving behind smears and dirt that can stain. This may cause the graphite to congregate in patches, which you may struggle to remove. We recommend that you use a soft bristle brush to remove excess graphite or eraser dust from your paper, to avoid any surface contact. A make-up brush is a low-cost option. We recommend that you place a clean sheet of paper or glassine, between hand and drawing to avoid the transfer of oils. |
Emboss tools
Embossing tools are used to indent your paper before you apply any pigment. This protects the surface of the paper from saturation. This is applied in areas you require highlights, such as catchlights in the eyes and strands of fur/hair, but it can also be applied between layers, to isolate and imprint any contours. Embossing tools are an indispensable product for artists. Sold individually or in multiple packs, each one has a metal ball attached to the tip, each with differing widths. Embossing tools can be used for a whole manner of arts and crafts, so we would recommend you purchase a pack, even if you don't use them for graphite work. Caution should be applied when using on soft papers like cotton as you may damage the surface. Abrasive paper, are not suitable for this technique as it will weaken the grit on the surface.
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Indenting is not a challenging technique, although, as you are making a mark in your paper, you do need to plan. If you are new to this technique, practice on a spare sheet of paper first, or why not try our tutorial here, which explains this technique.
blending tools
There are numerous tools that you can use for blending graphite. Tissues, tortillions, cotton buds, even make up sponges. We discuss two of the most effective tools to blend.
paper stumps & tortillions
Paper stumps and tortillions are tightly packed rolls of paper which form a pointed tip, allowing you to burnish your work across both large and small areas. Although you can peel away a layer of the paper when it becomes over-saturated, it can be useful to leave any excess pencil on the tip, as you can use this to apply a softer layer of pencil to your paper.
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Paper stumps are pointed at both ends and are available in multiple thicknesses which can be purchased individually or in a pack. Tortillions are shorter and thinner and pointed on one end only. They are sold in multipacks as the are not as durable as the stumps. Stumps and blenders can be used with other mediums such as coloured pencils and pastels, but we suggest you keep them separate and avoid cross-contamination.
tissues
Tissues are the ideal product to use if you do not have any blending tools. Wrap it round your finger to blend larger areas, tear off a strip and wrap it round the tip of a blunt pencil to smudge and blend smaller areas. You should never blend pencil with your fingers as the natural oils will transfer to your paper and can damage your drawing. Pocket tissues are the ideal size to rip and tear to fit your needs, but you can use standard size tissues and even sheets of toilet roll. Kitchen roll may be too coarse, so may not be ideal. We do not recommend tissues that are infused with anything.
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 | fixativeIf you work with graphite pencils, we recommend that you fix your drawing once you have finished. It protects from accidental smudging (although it is not smudgeproof) and can add an extra layer of preservation if you buy a fixative with UV protection. It is important to keep some distance between the can and your artwork (around 12"), in order to achieve an even layer. Make sure you shake the can thoroughly, and give it a light, even spray, using deliberate motion of left to right and up to down. Don't over saturate. |
ADDITIONAL PRODUCTS THAT MAY BE USEFUL
We include a couple of other products that you may find useful, if not for your graphite pencil case, maybe for your other artistic ventures.
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white gelly penIf you want to add some really vivid highlights into your drawing, the white Sakura Gelly roll pen is the ideal choice. With 3 nib sizes, it is waterproof, acid free and fade resistant. | ERASING SHIELD/STENCILThe drawing template shield is made of flexible stainless steel. They are very thin and work easily with an eraser. Good for precise and controlled erasing and drawing. |
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