UPDATED 7th February 2025We 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:
  Ideal for the noviceIf 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.  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.  Our trial and findingsWe 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:
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.  Final thoughtsIf 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. Additional products availablePaul 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 companyCOMPANY HISTORY
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.
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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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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. |
LEAVE US A COMMENT
What is your favourite product when working with graphite pencils and why? Have you changed products or brands over the years, or do you have a product that you have used for many years, even decades? Share with us all below.
This Article Has Been Upgraded
This page now directs visitors to the revised article on black papers for artists. The earlier blog version has been replaced with a fully updated and comprehensive guide that concentrates on artist‑grade surfaces, providing a more accurate and useful resource for choosing materials.
If you’ve arrived here from an older link or search result, the new guide will give a much more extensive overview of the black surfaces currently available, along with practical notes on how each one behaves in the studio. You can find the updated version by clicking the image below.
If you’ve arrived here from an older link or search result, the new guide will give a much more extensive overview of the black surfaces currently available, along with practical notes on how each one behaves in the studio. You can find the updated version by clicking the image below.
Are you an artist who uses soft pastels? Do you need help with blending techniques or want to learn more about how to mix pastels? We've done the research for you and compiled a list of the top ten tools that can improve your pastel work. Discover new ways to blend and create with our comprehensive guide.
In this article, we will go over ten different techniques for blending soft pastels. We will also provide instructions on how to apply each technique and the advantages and disadvantages of each method.
 | 1. SpongesWhen 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/ TortillionsBlending 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 toolsOur 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 shapersSilicone-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 applicatorsSponge 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 blenderThe 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. BrushesFor 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. FingersIf 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-tipsArtists 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 pastelBlending 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.
Feeling moody? Look no further, Derwent Onyx is our blackest graphite pencil, even darker than a 9B!
Great on its own for drawing really moody pictures or use it with other graphite media like Graphic or Sketching pencils to add dense shade and tone.
We have created two tones, medium and dark, but it is easy to build up darker shades if you need them by increasing the pressure. The wide strip can be easily sharpened and will hold a fine point, perfect for capturing the detail in drawings!
Taken from the Derwent website - www.pencils.co.uk
Great on its own for drawing really moody pictures or use it with other graphite media like Graphic or Sketching pencils to add dense shade and tone.
We have created two tones, medium and dark, but it is easy to build up darker shades if you need them by increasing the pressure. The wide strip can be easily sharpened and will hold a fine point, perfect for capturing the detail in drawings!
Taken from the Derwent website - www.pencils.co.uk
 | These Onyx pencils were created by Derwent to add darker shades to their graphite pencil ranges. You don't need the full range of graphite pencils to create effective art, and this set, comprising only of a Medium & Dark grade would be ideal for those on the go, who like to sketch out in the field or those who prefer the minimal amount of art supplies (I'm sure there's some artist out there like that!?) In this article, we explore the possibilities of these pencils and their characteristics. |
Derwent Graphic v's Derwent Onyx tonal chart
We decided to research this product online and see what other artists are saying about these pencils, but found mixed reviews. Some noted the Dark grade was as black as Derwent suggests, but others said it was not. There is little information about these pencils on the Derwent site, but they do state that they are lightfast (rated 8 on the Blue Wool scale) and that both pencils contain animal fat in the wax blend.
As you can purchase these pencils for under £2.00 each, we decided to buy them and try them out ourselves.
We created a chart below, comparing the grades of the Derwent graphic range and the Derwent Onyx pencils. We include it here so you can see the difference for yourself. We applied the pencils as heavily as possible to ensure the darkest tones were replicated.
As you can purchase these pencils for under £2.00 each, we decided to buy them and try them out ourselves.
We created a chart below, comparing the grades of the Derwent graphic range and the Derwent Onyx pencils. We include it here so you can see the difference for yourself. We applied the pencils as heavily as possible to ensure the darkest tones were replicated.
Our findings
We have created a tutorial using the Onyx pencils, so people can examine for themselves what they can accomplish. It gives you a chance to learn how to draw facial features whilst trying the pencils too. Using other tools to blend and erase, will help you create highly effective drawings, without the constant need to change grades. For this reason, these pencils are ideal for sketches on the go and take up very little space in your bag. The medium pencil can create the finer lines and the Dark grade allows you to create shade, either heavy or light.
Personally, we do not feel that the Dark grade is darker than the Graphic 9B, but what do you think?
Personally, we do not feel that the Dark grade is darker than the Graphic 9B, but what do you think?
Click the link below and try our graphite pencil tutorial. The Derwent Onyx pencils are used in this tutorial, but we do recommend two standard grades of graphite pencils in the place of the Onyx ones, should you wish to use those instead.
What are your personal experiences with these pencils?
Do you use them exclusively or in conjunction with other brands?
Do you find them useful?
Let us know in the comments section below.
By Karen M Berisford, originally posted 30th July 2021, updated March 2, 2025
As an artist who works from home I am always looking out for art products that will make my life easier in some way. Recently I came across an LED Task Light from a company called Lumi. Below is my personal review of this product which might help you to decide whether it’s something that could work for you too.
As an artist who works from home I am always looking out for art products that will make my life easier in some way. Recently I came across an LED Task Light from a company called Lumi. Below is my personal review of this product which might help you to decide whether it’s something that could work for you too.
I have been using a daylight lamp in my art studio for many years but thought it was time to replace my old lamp once the wiring began to fray. As it got worse, no amount of electrical tape would keep it secure and it became a safety risk.
I received an email from the online art store Cassart, notifying me they had a sale on their daylight lamps, an ideal time to replace my old one and get a brand new one for a good price. After much deliberation, I chose the Lumi LED task lamp. It looked sleek and with a 20" wide head and I knew it would provide more light than my previous model.
Here, I offer my thoughts on this product.
I received an email from the online art store Cassart, notifying me they had a sale on their daylight lamps, an ideal time to replace my old one and get a brand new one for a good price. After much deliberation, I chose the Lumi LED task lamp. It looked sleek and with a 20" wide head and I knew it would provide more light than my previous model.
Here, I offer my thoughts on this product.
With the Lumi light measuring 20" wide, it provides balanced coverage over a large area. The head itself can twist 180° and provide light where you need it most. It can be adjusted both vertically and horizontally, but can be maneuvered into varying positions. The 'on' button is found on the top of the light. It offers two levels of brightness which can you can adjust by pressing the button twice.
TECHNICAL DETAILS:
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Although the LED lights cannot be replaced which may concern some people, they provide over 50,000 hours of usage. Continuous usage at 8 hours a day, 5 days a week means your light could last around 24 years so this does not seem much of an issue after all. LED lighting also uses less power than bulbs whilst emitting the same amount of light. They are less susceptible to breakage and last far longer than a traditional bulb.
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" Light is a natural resource that is mostly taken for granted. We know, however, that the right light in the right place can have a dramatic, positive effect on your life and work. We also know that natural daylight can help improve work performance and efficiency. Since the 1980’s, we have made it our mission to design the best lamps we can, to make a significant improvement to people’s lives. "
My personal rating: 8/10
I give 8 out of 10 for a few reasons. I am quite sensitive to bright light and personally find it too bright even on the lowest setting though this is not the fault of the manufacturer, so I remedy this by positioning it at a distance. The second concern is the plastic head which is not as durable as the rest of the light. I feel it may weaken over time when twisting the head, especially if you are turning it the wrong way, so it is important to do this with care. The lights cannot be replaced so should they become damaged, you would need to replace the whole light.
 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. |
Which light do you use in your home/studio for your craft/art? What do you love about it or wish you could adapt to make it perfect for you?
Comment below and share your experience
Comment below and share your experience
A while back I purchased a couple of sheets of the latest Colourfix paper. It is a smoother version of the standard paper that was launched by Art Spectrum in 2017
Available colours are the same as the standard Colourfix options which you can view HERE
Available colours are the same as the standard Colourfix options which you can view HERE
Art Spectrum® Colourfix™ Smooth is manufactured by screen printing Colourfix™ Smooth Primer onto European Archival 300gsm Hot Pressed watercolour paper making 340gsm pastel paper.
Colourfix™ Smooth is a versatile surface that can be used for pastels, oil colours, acrylics, inks, oil pastels, gouache, watercolours and dry media such as charcoal and pencils.
The Colourfix™ Smooth texture is ideal for pastel artists who are looking for a not so toothy surface. The surface still has enough soft tooth to enable the artist to do multiple layers of pastel.
Colourfix™ Smooth is available:
Colours: 20 (As the Colourfix standard)
Sheet sizes: 23 x 30cm (9” x 12”) and 50x70cm (20” x 28”) 10 sheets per pack.
Rainbow packs available in 23 x 30cm (9” x 12”)
Cool and Warm packs in 23 x 30cm (9” x 12”) size
 | PrimerYou 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. |
Comparison between the standard Colourfix paper and the smooth version
Below is a magnified image of the Colourfix standard paper versus the smooth surface. As you can see, the standard surface appears quite gritty next to the smooth surface. You can see how the smooth compares to the very popular Pastelmat paper below.
How does the Colourfix smooth compare to Pastelmat?
Here is a magnified image of the Colourfix smooth and Clairfontaine Pastelmat paper comparison. They look and feel exactly the same and I suspect Art Spectrum brought out the Colourfix smooth paper in competition with Pastelmat, knowing how popular the paper is.
Violet flower on Colourfix smooth paper
Having completed a soft pastel drawing on this paper, it reminded me of the popular Pastelmat paper. Pastels go on smoothly and is easy to blend on. As I blend by overlaying pastels rather than using my fingers or tools, this paper makes it easier to do this because of its smoothness, not as easy on the original surface which has more of a tooth. This paper is great for those just starting out with pastels and is suitable for other mediums such as pencils and acrylic paints.
The latest tutorial available on our website, created for inclusion in our autumn newsletter 2020, shows you how to create a Violet flower on the Colourfix smooth paper. Using soft pastels on the Leaf Green Dark tone (you can use any colour surface) we break down the process of base application with pastel blocks to creating the fine details using the PITT pastel pencils (you can use your own pastel range)
**NEW** COLOURFIX™ OPTIMUM BOARD
ORIGINAL (MEDIUM) TEXTURE
The Colourfix original paper surface is also available in a more robust form known as the 'Optimum board'.
Unlike the Pastelmat surface, who has their own version which includes the foamcore (and was the first to offer this type of surface I believe?), the Colourfix surface also includes a thin layer of aluminium to prevent warping.
Unlike the Pastelmat surface, who has their own version which includes the foamcore (and was the first to offer this type of surface I believe?), the Colourfix surface also includes a thin layer of aluminium to prevent warping.
Art Spectrum® Colourfix™ Optimum Board is a high density archival and acid free foamcore board, hand screen printed with Art Spectrum® Colourfix™ Primer..
The secret that separates this board from all others is a super thin layer of Aluminum within the board that prevents warping and helps provide this substrate’s lightweight and sturdy characteristics.
Colourfix™ Optimum Board has a robust toothy surface that will hold layers of pastel without the need for fixative, allowing the velvet bloom and vibrant colour of pastel to be preserved.
The new Art Spectrum® Colourfix™ Optimum Board comes in 6 lightfast colours all with the Original Colourfix™ tooth. It is a superb substrate for pastels, oil colours, acrylics, inks, oil pastels, gouache, watercolours, and dry media such as charcoal and pencils.
Colourfix™ Optimum Board is available in 16 x 20” and ready to be framed without the need for a backing board.
What else you should know about this board:
The substrate board is acid free containing no lignin’s.
The glue used in this product is also acid free.
Aluminum thickness: 6.3μm
Colours available: White, Soft Umber, Terracotta, Rose Grey, Blue Haze and Deep Black.
Also available Rainbow Pack which includes one sheet of each colour
| | Loxley spray fixative 200ml is a high quality, colourless, non-yellowing protection medium with UV Filter and is CFC free. It protects artwork from atmosphere damage caused by moisture and the suns UV rays as well as preventing smudging and is recommended particularly for use on charcoal, pencil, pastel, crayon, chalk drawings and paintings. This is available in two sizes: 200ml and 400ml. |
PERSONAL RECOMMENDATION:
I have used this product for many years to help seal my graphite and coloured pencil drawings as well as my pastel portraits too. I have tried some other fixatives, but I personally like this one due to the fact that it also includes a UV filter, which offers extra protection. Some fixative nozzles can become blocked which is when spitting happens and this can leave marks on your drawing, particularly noticeable if you use it for your pastel paintings. I have never had that problem with the Loxley one.
I have used this product for many years to help seal my graphite and coloured pencil drawings as well as my pastel portraits too. I have tried some other fixatives, but I personally like this one due to the fact that it also includes a UV filter, which offers extra protection. Some fixative nozzles can become blocked which is when spitting happens and this can leave marks on your drawing, particularly noticeable if you use it for your pastel paintings. I have never had that problem with the Loxley one.
USING IT ON MY OWN DRAWINGS
When working on my coloured pencil portraits, I sometimes apply a fixative between the layers which helps to extend the working surface and minimise saturation if I have applied a large amount of layers to a particular piece. As the fixative secures previous layers, ensure you have finished blending as you may not be able to do this after sealing it with fixative. In the video above, you can see the Loxley fixative appear in the video showing you where I apply a spray of fixative. There are around 8 or 9 layers on this area alone and as I need to apply highlights to the dark fur, the fixative allows me to do this without muddying the colours. I can then continue with more layers. Once the portrait is complete, I treat it with two layers over the whole of the portrait to minimise smudging and to offer extra protection to the framed portrait, particularly as many people do not choose a UV or museum glass when framing.
When working on my coloured pencil portraits, I sometimes apply a fixative between the layers which helps to extend the working surface and minimise saturation if I have applied a large amount of layers to a particular piece. As the fixative secures previous layers, ensure you have finished blending as you may not be able to do this after sealing it with fixative. In the video above, you can see the Loxley fixative appear in the video showing you where I apply a spray of fixative. There are around 8 or 9 layers on this area alone and as I need to apply highlights to the dark fur, the fixative allows me to do this without muddying the colours. I can then continue with more layers. Once the portrait is complete, I treat it with two layers over the whole of the portrait to minimise smudging and to offer extra protection to the framed portrait, particularly as many people do not choose a UV or museum glass when framing.
USING IT ON PASTEL ART
If you work with pastels, you may wonder if you should use a fixative on your drawings. Take a look at the comparison photos below and see what may happen if you do. The one on the left is before applying fixative and the one on the right is after. See how the fixative has darkened the colours, creating a more translucent finish. The fixative has dampened the pastel application, causing the darkening of the pastels. This may depend on the pastels you use though as higher quality pastels may not react in the same way as cheaper brand ones due to their being more pigment in them. Many papers, particularly textured ones, do not require a fixative as they hold the pastel well with minimal pastel drop. At the end of the day, the final decision is yours alone.
If you work with pastels, you may wonder if you should use a fixative on your drawings. Take a look at the comparison photos below and see what may happen if you do. The one on the left is before applying fixative and the one on the right is after. See how the fixative has darkened the colours, creating a more translucent finish. The fixative has dampened the pastel application, causing the darkening of the pastels. This may depend on the pastels you use though as higher quality pastels may not react in the same way as cheaper brand ones due to their being more pigment in them. Many papers, particularly textured ones, do not require a fixative as they hold the pastel well with minimal pastel drop. At the end of the day, the final decision is yours alone.
DIRECTIONS FOR USE:
When spraying, hold the can about 12" away from your upright drawing and spray evenly from top to bottom. It has also been suggested to me that you can turn your drawing 45 degrees and respray, so you are applying a balanced amount over the whole of your drawing. Spray too close and you may create speckling from the aerosol.
When spraying, hold the can about 12" away from your upright drawing and spray evenly from top to bottom. It has also been suggested to me that you can turn your drawing 45 degrees and respray, so you are applying a balanced amount over the whole of your drawing. Spray too close and you may create speckling from the aerosol.
WHAT ABOUT USING HAIRSPRAY AS A CHEAP ALTERNATIVE TO FIXATIVE?
Never use hairspray as a fixative. Manufacturers of hairspray make this product for use on hair, not artwork. As hairspray is not acid-free, should you spray it over your artwork, it could cause it to yellow over time. The acid in the hairspray can cause discolouration of the pigment and may also make the paper brittle too. If you have ever used hairspray, you'll note that some can leave a tacky residue behind, not good for your work. It really is better to buy a fixative made for art, which will help protect your work properly for many years.
If you wish to see the final portrait of the Boxer dog being created in the video above, click this link
Never use hairspray as a fixative. Manufacturers of hairspray make this product for use on hair, not artwork. As hairspray is not acid-free, should you spray it over your artwork, it could cause it to yellow over time. The acid in the hairspray can cause discolouration of the pigment and may also make the paper brittle too. If you have ever used hairspray, you'll note that some can leave a tacky residue behind, not good for your work. It really is better to buy a fixative made for art, which will help protect your work properly for many years.
If you wish to see the final portrait of the Boxer dog being created in the video above, click this link
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.
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.
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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.
You can view our Luminance article by clicking the link below.
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Karen M Berisford
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