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​Why have GOLDEN discontinued their Polymer varnish range?

So, what is the waterborne varnish?

Application & After care:

Derwents' new coloured pencil range

Sennelier collaborated with Picasso to create this lightfast oil pastel range

New tutorial - Poppy field on black base for soft pastel artists

standard eraser This 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. Vertical Divider

Kneadable putty rubber Kneaded 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.

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. Vertical Divider

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.

the must-have eraser

​Battery powered eraser

The white hairs were created with the battery powered eraser

soft brush Avoid 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

blending tools

paper stumps & tortillions

tissues

fixative If 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

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A list of 12 Black paper brands - 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), which is ideal for blending and layering, to the finer grades that are perfect for delicate and detailed work. You can add layer on top of layer without losing tooth. The abrasive surface eliminates the need for fixatives. The colour of the paper fluctuates depending on which grades you are using: while the 400 & 500 grades provide a rich black texture, the 600 & 800 grades lean towards a dark charcoal colour, as the higher the grade, the smaller the pigments. UART employs a state-of-the-art manufacturing process that ensures a consistent grain application on every inch of the paper. Read our UArt dark paper article. 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 can cause fading). 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: Available but easier to access in the USA ​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 pastel 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. Pulp-dyed, colours are light-resistant and its high cotton content makes it both robust and flexible. Complies with ISO 9706 standards on permanence, to guarantee excellent conservation. It is acid-free and has no optical brightness additives (OBA's can cause fading). ​Company: Canson Weight: 160gsm ​Texture: 2 sided - Fine and Textured (Like NOT paper) Composition: Cotton rag (50% cotton) ​Suitable for: Pastel, charcoal, sanguine, pencil, even watercolours and gouache. Handicrafts such as folding, cutting, gluing, making cards, etc. Sizes available: Sheets, rolls and pads Company base: France Accessibility: Easily accessible ​Vegan: No. (sized with gelatin)

Derwent Black Mixed Media paper (New) 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 When mixing soft pastels, sponges are the go-to tool for most artists. These are available in various shapes and sizes and can be easily found in art supply stores or even health and beauty stores that sell make-up sponges. How to Apply: To achieve a smooth blend, apply 2-3 shades of pastel to the paper and blend with circular movements. When working with small areas, use the wedge or 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 tools of tightly packed paper rolled into a pencil shape. These tools have fine tips that allow for blending in small areas and the ability to push pastel around to create or smooth out thin lines. ​ How to apply: To achieve a smooth blend, apply 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 Our Sofft tools are crafted from a unique micropore sponge formula, with each tool featuring a distinct shape and size that makes it perfect for blending and applying your pastels. You can easily replace the sponges, which are reusable and simple to clean.  How to apply: Rub the sponge across the pastel and apply it to your paper. Afterwards, you can blend the pastel as desired. 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 Silicone-made Colour Shapers are versatile tools for blending pastels and other mediums. The tips avoid absorbing material, which is perfect for applying, removing, scraping, and moving colours. Made of durable rubber composite, they help create texture and blend pastels seamlessly. The blue and ivory-coloured tips are soft and suitable for soft pastels. The darker coloured tips are firmer. These are useful for clay and other mediums. How to apply: Before selecting your preferred tool, ensure you have enough pigment on your paper. Then, delicately blend the pigments for optimal results.​ 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 help blend small areas of pastel. You may find packs made explicitly for this technique called 'Sofft Mini sponge applicators' from the Pan Pastel company. However, general art stores may sell them too. You can purchase a pack of eyeshadow wands as an inexpensive replacement from your local health and beauty store. However, the sponge will likely be of different quality and may tear easily, but it 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 versatile medium that can achieve different effects. It can help increase transparency and improve the flow of colour without altering the pigments' original hues. With this medium, you can create a more transparent mix or soften the application's flow.  How to apply: This product can be used before applying colour, as a base layer, or mixed with the pigment after application.​ Good: Easy to mix, non-crumbly. Low dust and less waste. ​Bad: To be updated

7. Brushes For a more precise and soft edge, using a short flat brush to blend your pastels is recommended. This type of brush is sturdier, offering more control. It's important to select the appropriate brush size for each area and to clean off any excess pastel after use to prevent colours from mixing and becoming muddy. ​ How to apply: Gently brush your pastels outwards to soften or in a rotational direction to soften hard lines after applying your layers. Good: Firm application. Targeted application. Bad: Abrasive paper may break the hair in the brush.

8. Fingers If you're a pastel artist, you may have used your fingers to blend your pastels. While this is a convenient way to blend larger areas, it can be messy and may mix your colours if you don't clean your fingers between colours. To avoid this, use a damp cloth to remove pastels from your fingers and dry them with a towel before mixing the following colours.  How to apply: Blend in circular motions with clean fingers to fill in the peaks of the paper and create a smooth layer. Good: Cost-free, quick and easy Bad: Messy applications. Abrasive paper can damage your skin.

9. Cotton buds or Q-tips Artists can make use of cotton buds, which are an affordable option. They can blend small areas of pastel drawings and be conveniently disposed of once used. How to apply: To achieve smooth coverage, use circular motions when blending over layers of pigment.​ Good: Low cost and economical. Bad: When you're searching for Q-tips, consider looking for eco-friendly options instead of plastic ones. Remember that cotton tips might not be the best choice for every project, as they can get stuck on abrasive paper.

10. Pastel on pastel Blending pastels is possible without a unique tool by layering one colour over another. This technique works well with soft and hard pastels, but the final effect will depend on the type of paper or surface used. Smooth surfaces may not blend as well as abrasive ones.  How to apply: Apply each colour on top of the other and push the pastels into the paper's peaks. Lighter applications will enable you to add more layers. Good: No extra tools are needed.  ​Bad: May not create an even blend of colour.

What products do you use to blend soft pastels?
​
​Do you have other product suggestions we haven't included here?
Please share your own hints and tips with us in the comments section below.

​ ​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

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