A list of 12 Black artist papers - Archival and Acid Free options

Somerset black ​Archival & Acid free WHERE to purchase suppliers outside the uk Vertical Divider

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 ​Weight: 280gsm 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. ​Vegan: Yes

UArt Black paper ​Archival WHERE to purchase Vertical Divider

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), 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. Company: Uneeda ​Grades: 400/500/600/800 (Abrasiveness) ​Texture: Abrasive 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 ​Vegan: Yes

Stonehenge black ​Archival & Acid free WHERE to purchase Vertical Divider

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), which may discolour the paper over time. Read our Stonehenge article.  Company: Legion ​Weight: 250gsm Texture: Vellum 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 ​Vegan: Yes

Velour pastel ​Archival & Acid-free WHERE to purchase Vertical Divider

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. Company: Hahnemühle Weight: 260gsm ​Texture: Texture ​Composition: Cellulose 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. ​Vegan: Yes

Aqua Stonehenge ​Archival & Acid free WHERE to purchase Vertical Divider

​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. ​Company: Legion Weight: 300gsm ​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: ​Vegan: Yes

Colourfix™ black Archival & Acid Free WHERE to purchase Vertical Divider

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 ​Weight: 340gsm 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. ​Vegan: Yes

Tiziano pastel paper Archival & Acid free WHERE to purchase Vertical Divider

​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. Company: Fabriano Weight: 160gsm ​Texture: Tooth ​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)

Mi-tientes 'Touch' Acid free WHERE to purchase Vertical Divider

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. ​Company: Canson Weight: 350gsm ​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 paper  ​Vegan: No. (sized with gelatin)

Mi-tientes pastel paper ​Acid free Vertical Divider WHERE to purchase

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. It complies with the ISO 9706 standards for limited aging of the paper and optimal longevity overtime.  It is acid-free and has no optical brightness additives. Compare 12 of th e most popular  black paper brands, including the archival and acid  free surfaces. Suitable for  numerous mediums and available in sheets, rolls, pads and blocks.

Derwent Black Mixed Media paper (New) Acid free Vertical Divider WHERE to purchase

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.  Company: Derwent​ Weight: 300gsm ​Texture: Smooth 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. ​Vegan: Uncertain

Frisk Black watercolour paper Acid free Vertical Divider

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. Company: Artcoe ​Weight: 320gsm ​Texture: Textured Composition: Unsure ​​Suitable for: Watercolour, pens, pencils, markers and brushes Sizes available: Gummed pads (A6, A5, A4, A3) Company base: UK Accessibility: Products sold internationally ​Vegan: Uncertain

Sakura sketchbook Acid free WHERE to purchase Vertical Divider

​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 Weight: 140gsm ​Texture: Smooth ​Composition: Acid free Suitable for: Ink, pencil, oil pastel & charcoal Sizes available: Notebook only (5 sizes) Company base: Netherlands Accessibility: Accessible online ​Vegan: Uncertain

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.

1. Sponges 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

7. Brushes 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.

8. Fingers 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?
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​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.

​ ​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

Our findings

My personal rating: 8/10

My old lamp, the D33200 model. The metal gooseneck is sturdy and holds firm, the Lumi light is much more lightweight, but as it rotates, it is easier to direct the light where you need it.

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. View the 2008 Daylight Company product list

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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.​

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

Sizes available

​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

Primer You can also purchase Colourfix smooth as a primer which allows you to paint it over any surface and create your art over the top. The primer is available in all colours found in the paper surfaces.

How does the Colourfix smooth compare to Pastelmat?

Violet flower on Colourfix smooth paper

**NEW** COLOURFIX™ OPTIMUM BOARD
ORIGINAL (MEDIUM) TEXTURE

​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.
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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