It comes in weights around 100-130gsm. This is the reason why oil pastels can stay on the paper for a long time without cracking. It’s indestructible too, which makes it wonderful for framing but not if you want to crop your painting down a little, a knife won’t cut it only a saw is up for the job (which is a nightmare!!) Most of my artwork is in mixed mediums. Because it has a dual surface and ideal weight to hold pastels nicely. The added advantage of treated MDF board however is that the pastel can be carefully washed off during the painting process, if desired. Colourfix is my favourite pastel paper. This is a very old style of paper and is often favored for portrait sketches and figure drawings. It can take a good amount of layering and is suitable for very fine detail. They also contain all of the colors that you need to create freely. I bet Uart is going to bring us coloured paper too in the future. If you like detail, the smoother surface will appeal; for a more aggressive approach with lots of layering, the coarser textured side provides wonderful possibilities. Thanks for all the great advice! But, we wouldn’t recommend this paper for any wet work like watercolors or poster colors because the paper is, kind of, thin for those media to work fine. But some artists create magic on it, so it sure is worth trying out. First, pastels unlike paints, rarely cover the whole surface. I really like both Pastelmat and Uart sanded paper. It is a texture paper with enough thickness to be able to take quite a bit of pastel. I often cut my pastel paintings to size. Retailer’s catalogues offer a multiplicity of papers recommended for pastel. I suggest you obtain a copy from a good supplier, as there is a wealth of information about the papers for sale. Members get access to courses, workshop and weekly tips, tutorials and articles. Artists & Illustrators is Britain’s most popular magazine for practising artists, whilst also being equally relevant to professionals, aspiring amateurs or to those who paint purely for pleasure. Have you tried it? I’ve not tried Pastelmat either but I’ve heard some very good things about it. Velour paper has a soft smooth surface that reminds me of velvet. Hope magic will happen as you say. Pastels require a lot of tooth (texture) in order to stay on the paper, so even the smoothest of surfaces designed for pastels have more tooth (generally speaking) than the roughest papers designed for colored pencil. It is 160gsm paper, so a lot thinner than the pastel card by Sennelier or Art Spectrum. This is an excellent paper although I find the honeycomb texture too pronounced to use. Best for sketches and light drawings. I have only worked on 600, but it is available in many grades, 240-800. I have only just tried this product with the Sennelier oil pastels and I am in love with it. With personal experience and recommendations, star rating and cost comparison. The texture has the same ‘grating’ action on the pencil as the Medium Surface Cartridge does allowing the colour to transfer easily but also gives an interesting interruption to the mark. Or not. A toned Canson mi-tientes is a good starting paper with oil pastels, however you want to consider a heavier paper. There are various types of pastels; oil pastels, soft pastels and hard pastels … Alternate surfaces There is a growing market for papers or boards that have an applied, textured surface, as opposed to those that simply rely upon the ‘natural’ grain of the surface. I do usually spray a workable fixative such as Krylar. She writes on oil and pastel painting, art history and the life of an artist. Arches Watercolor Paper. Clairefontaine Ingres Pastel Shades Pastel Pad. But I have to admit that I also use papers “made” by myself, as you can see here: https://www.textloft.de/auf-papier/wp-content/uploads/2017/03/Papier-Recycling-01.jpg, https://www.textloft.de/auf-papier/wp-content/uploads/2017/03/Papier-Recycling-02.jpg, That’s cool – to ‘make’ your own paper like that. A set of professional acid-free soft pastel paper, that has 24 sheets of different neutral colors for the largest versatility possible. See also my Affiliate page. I really like the Uart Dark paper in 500 grit. Mungyo sets all levels. I cover the paper with a white gesso primer (mixed with pumice powder and water to the recipe above), applying it with a squeegee not a brush, as I wish to flatten the paper’s natural grain – this process may be repeated until the desired surface is obtained. I have never tried it but hear many artists love it. Oil pastels are mostly made of oil, pigment, and wax. Block of colour: Good coverage on all 3 papers and all the same strength of colour. 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