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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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For anyone who uses the Caran d'Ache Luminance pencils, the company has released 24 new colours! You can buy individual pencils or purchase 20 of the colours in a box set called the 'Portrait assortment' These pencils have been available to 'pre-order' for a while, but online stores, are now receiving stock and getting them sent out to everyone. My set appeared on Saturday morning (18.07.20) and I have to admit to being very excited upon opening the box. For me, the Luminance pencils are THE best pencils I have used and I really appreciate that Caran d'Ache have extended the colour palette from 76 to 100. I suspect this was a reaction to Derwent releasing their first, fully lightfast pencil range last summer, which had 100 colours. For anyone interested, I have both ranges. The Luminance pencils are my regular 'go to' pencils as they are a little firmer than the Derwent Lightfast, and I am able to create finer details with them, but both ranges offer different colour palettes and having a larger choice is always a bonus.
The two darker tones, Indanthrone Blue and Dark Indigo will make a more natural replacement for the black pencil, but as the majority of my own work includes pets and portraits, having additional browns and pinks added to the palette is excellent. My current favourite colours are Burnt Ochre 10% and Burnt Sienna 10%, which I use on almost every portrait, so the introduction of the Herculanum Red, Violet Pink and Dark Flesh 40% are most welcome!  Above are the four new colours not included in the Portrait set. Personally, I think that Caran Dache should have created the Portrait set and include all 24 colours as they are just as important as all the other colours. I also wish they had included an extra grey for the 'eye colour selection', but as I use the greys more than most other colours, I could never have enough choice! Have you got yours yet? Do let me know what your favourite, or most used colours are, and which new colours you are most excited about!
You can view our Luminance article by clicking the link below. |
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