UArt Premium Sanded Pastel Paper Tial Pack

Product Information

My final work was completed with applications of Yellow Chartreuse, Jasmine, Limepeel, Olive Green, Dark Green and Indigo Blue. I applied the heaviest pressure (8 to 10) to the tree, its cast shadow and the sunlit areas around the shadow. This helped create the look of bright sunlight. I also used a glaze of Dark Brown to tone down some of the areas, and “tapped” White into the sunlit portions of the tree to finish it off. Above image, from top: Canson Mi-Teintes Touch, Clairefontaine Pastelmat, Art Spectrum, Colourfix, Fisher 400

What that entails for the artists is that they are able to hold more layers of paint as opposed to other pastel paper. Textured speciality pastel papers are excellent to use your pastels on to appreciate their full potential.

The good news was that the paper took a lot of color from start to finish. I also didn’t have to worry about using a little brute force in the process. It would be difficult to accidentally damage this paper. I think many of us started on Canson Mi-tientes until we got the feel of pastels, then graduated to sanded papers for the possibilities of ability of putting on multiple layers, and the ability to do wet underpaintings, etc.

Sennelier pastel paper is available only in a warm grey shade while Clairefontaine Ingres comes in twenty colours across the whole spectrum, and is the only Ingres paper that is 100% cotton. Cotton is naturally acid-free, which means it has more longevity than wood or other cellulose pulp as it has the fewest impurities. The long fibres of cotton are also stronger so the paper can take more rubbing when you erase or blend, and it is also less likely to discolour over time.And just in case you’ve heard the rumors about pigment dust when you draw on sanded papers, it’s true. But you probably haven’t heard that you can use a bristle brush to push that dust into the tooth of the paper so it’s not wasted! August Morning in Kansas (above) is one of the most recent and it’s the best one so far. I’ve started all of them with simple sketches. Sharp Pencils I love the look of soft pastels, but I HATE the feel of them on my hands. I can’t work with them. Colored pencils over pan pastels on sanded paper look nearly identical though! I prefer Polychromos for softer blending. Higher wax content pencils aren’t as soft to blend out. These will mix with a pan pastel base layer and allow you to get fine detail with your pan pastel work! I use my higher wax content pencils like Caran d’Ache Luminance over areas I don’t want to smudge out as much. In this one I used a white Caran d’Ache Pablo for smaller detail. Tip #7 Contrast The nature of the chalk sliding off with each stroke is perfectly compatible with textured surfaces or sanded textured surfaces. The rougher and grittier the finish of the paper, the more substance you are able to see with each stroke of your soft pastel. Finally I used the magentas of the Derwent Lightfast blend and in this particular blending test I used a paper blending stump. Now I personally would not use a paper blending stump on conventional paper like bristol smooth, velum or watercolor paper, simply because the paper to paper friction does not in my opinion work that well. On the Lux Archival paper however the result are very different and a paper blending stump is an excellent blending method on this paper. Pastel Testing

UAart 400 and 320. The 500 UArt is pretty nice for thin detailed stuff with hards / semi hards, but for me it doesn’t layer as well with soft pastels.The paper is great for achieving a soft, blended appearance with pastel, but problems can occur working dark to light, as colours blend into one another rather than sitting in separate layers. When working with ingres paper, try to apply colour directly to the paper as you see it from the reference, rather than working dark to light or light to dark in layers. Honeycomb (dimpled)