Sanded Pastel Paper & Other Specialist Surfaces: My In-Depth Reviews

Welcome to my in-depth reviews of Sanded Pastel Paper and a range of Other Specialist Surfaces!

If you're eager to move beyond traditional papers and discover surfaces that can open up new possibilities for your pastel pencil art – especially when it comes to achieving incredible layering, rich depth, and unique textural effects – then you're definitely in the right place.

Many artists, myself included, find that sanded pastel papers, with their distinctive gritty tooth that just loves to grab pigment, offer a clear advantage for certain techniques. But the world of specialist papers also includes fantastic coated surfaces and other uniquely textured options that offer exciting possibilities for your work.

As we discussed in the main pastel paper guide, these advanced papers are often specifically engineered to provide that exceptional grip and robust foundation so beneficial for serious pastel work.

On this page, I'll be sharing my detailed hands-on reviews for seven different specialist surfaces, covering a variety of sanded, coated, and uniquely textured papers.

I’ve put each one through its paces with both my Cretacolor pastel pencils and my trusty Faber-Castell Polychromos to give you a comprehensive picture.

For each paper, you'll find:

• My honest insights into its performance and feel.
• Close-up photos of my test swatches.
• The pros and cons I discovered specifically for pastel pencil application.
• My overall verdict to help guide your choices.

This is a very comprehensive page as we're looking at seven different specialist papers!

If you have a particular type in mind, like a specific sanded pastel paper, or a certain brand you're curious about, please do use the Table of Contents (below) to jump directly to that review. Otherwise, I invite you to explore them all.

My aim here is to demystify these often more premium papers, particularly the various types of sanded pastel paper and their coated cousins, and help you decide which ones might be a worthwhile investment for your artistic style and the effects you want to achieve.

Let's explore these exciting options!

Art Specrum Colorfix Sanded Pastel Paper

Art Spectrum Colourfix is a popular Australian-made sanded pastel paper (or card, depending on the specific product – Peter Weatherill's notes mentioned a 300gsm card base, and they also do heavier boards).

It features a fine tooth created by screen-printing a clear acrylic primer mixed with fine silica particles onto a quality, pH-neutral watercolour paper. This process makes it renowned for its durability and its impressive ability to take many layers of pastel.

Colourfix comes in a good range of colours, and for my tests, I used a sheet of Dark Blue.

How Pastel Pencils Perform on Art Spectrum Colourfix

My experience with Cretacolor pastel pencils on the dark blue Colourfix paper was very insightful, particularly regarding colour interaction.

• Working with a Cretacolor Permanent Dark Yellow pastel pencil immediately demonstrated how significantly a coloured ground can influence your pencil shades – the yellow appeared distinctly more orange against the dark blue paper. This is a key learning point when choosing and working on coloured surfaces, especially darker ones!
• The surface, which feels like a very fine sandpaper (though it wasn't uncomfortable for finger blending, which is a plus), grabbed the pastel pigment quite greedily. This resulted in some initial dust being generated, and I also noticed it wore the pencil tip down more quickly than on non-sanded traditional papers.
• A single layer of pastel pencil covered the paper's tooth surprisingly well, with no distracting paper pattern showing through from the Colourfix itself.
• It took about three layers of pastel pencil to achieve a solid, opaque fill on the dark blue, but the great news is that I found I was able to comfortably add further layers on top of this if needed, indicating excellent layering capacity.
• Blending with a cotton budworked really well, creating a soft, smooth blend that provided a good surface for subsequent pencil work, even on this darker ground.

How Coloured Pencils Performed on Art Spectrum Colourfix

My Faber-Castell Polychromos also interacted interestingly with the Colourfix surface:

• The Polychromos went down smoothly, despite the sanded texture.
• Similar to the pastel pencils, there was a bit of dust generated as the paper's grit shaved the wax/oil-based pencil tip.
• It didn't take many layers of Polychromos to achieve good coverage over the dark blue paper, which can be an advantage. Importantly, I found that I could still add more layers on top without the surface becoming slick too quickly, which is a good sign of its tooth.
• Linework with Polychromos was smooth, and the fine grit didn't seem to cause any significant issues with creating defined lines.

Pros for Pastel Pencils (on Art Spectrum Colourfix)

• Excellent Tooth: Grips pigment exceptionally well, allowing for multiple rich layers.
• Good Solid Coverage: Enables good opaque coverage, even when working on dark papers (though colour interaction must always be considered).
• Blends Well: Facilitates effective blending (e.g., with a cotton bud or similar tools).
• Durable Surface: Can withstand reworking and robust application techniques.
• No Intrusive Paper Pattern: The fine, even tooth doesn't impart its own distracting pattern onto the artwork.

Cons for Pastel Pencils (on Art Spectrum Colourfix)

• Faster Lead Wear: Will wear down pastel pencil leads more quickly than traditional, smoother papers.
• Potential for Dust: May generate more dust upon initial application due to the abrasive surface.
• Strong Colour Interaction: The paper's own colour will significantly influence the appearance of applied pastel pencil colours, especially with lighter or more translucent shades – dark grounds can dramatically alter perceived hues.

Suitability for Coloured Pencils on Art Spectrum Colourfix

Good. Art Spectrum Colourfix is also a popular surface choice for many dry coloured pencil artists who prefer a toothy ground, including for work on darker papers.

It allows for good layering and smooth application for these pencils too, although it will also wear them down faster than smoother papers.

The ability to achieve good coverage quickly with Polychromos, especially when working light-over-dark, can be a distinct advantage.

Best For (Using Pastel Pencils on Art Spectrum Colourfix)

• Artists who want to build up rich, multiple layers of pastel pencil, particularly when working on a coloured ground where good grip is essential.
• Techniques that involve blending and layering for depth and painterly effects.
• Achieving vibrant results, especially if using more opaque pastel pencils on darker papers (always being mindful of colour shifts with more translucent pastel shades).
• Artists who don't mind a bit more pencil wear in exchange for superior layering and durability.

My Tip & Verdict for Art Spectrum Colourfix

Art Spectrum Colourfix, especially on a dark coloured sheet like the blue I tested, is a robust and versatile sanded paper that really grips your pastel pencils, allowing for impressive layering and rich colour build-up.

It's a fantastic surface if you want your pastel pencils to show up boldly and retain their vibrancy on a coloured ground.

However, be mindful that it will wear your pencils down faster than smoother traditional papers and can create some dust, particularly on initial application.

Its performance with dry coloured pencils like Polychromos is also very good for layering on a toothy surface, offering good coverage.

Crucially, always test your pencil colours on a scrap of your chosen Colourfix paper first to see how the paper's base colour will affect their appearance – as my yellow pencil clearly demonstrated by turning orange, the interaction can be quite dramatic!

Peter Weatherill also noted in his archives that Colourfix is available as a 'paint-on' primer, allowing you to create your own Colourfix-style surface on other supports like board or even heavy paper, which is a useful option for artists who like to prepare their own custom surfaces.

Verdict: A highly capable and popular sanded surface that offers excellent layering for both pastel pencils and traditional coloured pencils.

Ideal for artists seeking a toothy, durable ground, but remember to test for colour interactions on tinted sheets and be prepared for faster pencil consumption.

Canson Mi-Teintes Touch (335gsm)

Distinct from the traditional Canson Mi-Teintes paper that many artists are familiar with, the "Touch" version is a much heavier paper, weighing in at around 335gsm.

It features a micro-abrasive, sanded/grit surface that is specifically designed for excellent pigment adhesion and layering.

It's a one-sided paper, meaning only one surface has this specialist texture. When I first handled it, I found its fine gritty texture felt very similar to that of Art Spectrum Colourfix.

How Pastel Pencils Perform on Canson Mi-Teintes Touch

Using my Cretacolor pastel pencils on Mi-Teintes Touch was a pleasant experience overall, with some characteristics typical of sanded surfaces.

• There was a slightly scratchy sound as the pencil engaged with the toothy surface, which is quite common for sanded papers and indicates the paper is doing its job of grabbing the pigment.
• The pastel pigment applied evenly and was gripped well by the paper. This efficiency did, however, create a bit of dust as the abrasive surface shaved off pigment from the pencil tip.
• I was very impressed with its layering capacity for pastel pencils; I applied 7 layers with ease, and it felt like the paper could comfortably take even more if needed. This is a significant advantage for building depth and richness.
• Blending with a cotton bud was very effective, creating a smooth result that I could then easily work back into with more pencil layers.
• One characteristic of this gritty surface was that ruled linework tended to be a bit wobbly, as the pencil tip naturally navigated the fine texture of the paper rather than gliding perfectly straight.

How Coloured Pencils Performed on Canson Mi-Teintes Touch

My Faber-Castell Polychromos also performed nicely on the Mi-Teintes Touch, making it a versatile surface.

• The paper grabbed the Polychromos pigment well, and it felt pleasant to work on.
• I was able to achieve about 5 layers of Polychromos before a little burnishing started to become apparent on the surface.
• Similar to the pastel pencils, there was some dust created as the abrasive surface interacted with the pencil core.
• Ruled lines with the Polychromos were also a little wobbly due to the surface texture, similar to the pastel pencils.

Pros for Pastel Pencils (on Canson Mi-Teintes Touch)

• Excellent Layering Capability: Comfortably takes 7+ layers of pastel pencil.
• Good, Even Pigment Application: The surface grabs pigment effectively for solid coverage.
• Blends Smoothly: Works well with blending tools like cotton buds.
• Pleasant Working Surface: Despite the grit, it feels good to work on.: Despite the grit, it feels good to work on.

Cons for Pastel Pencils (on Canson Mi-Teintes Touch)

Dust Creation: The abrasive surface creates some pastel dust during application.

Faster Lead Wear: Will wear down pastel pencil leads more quickly than smoother, traditional papers

Linework Challenges: Achieving very fine, perfectly crisp straight lines can be challenging due to the gritty texture.

Suitability for Coloured Pencils (Wax/Oil) on Canson Mi-Teintes Touch

Very Good. Canson Mi-Teintes Touch takes dry coloured pencils like Polychromos well, allowing for good layering (approximately 5 layers before burnishing becomes very noticeable) and grabbing pigment effectively.

The paper's texture will be a feature of the artwork, and it will also cause some pencil wear and dust, which is typical for sanded surfaces with these types of pencils.

Best For (Using Pastel Pencils & Dry Coloured Pencils on Canson Mi-Teintes Touch)

• Artists who require significant layering capabilities from their paper for either pastel pencils or traditional coloured pencils.
• Creating works where a slight underlying texture is acceptable or even desirable.
• Mixed media applications that might involve both pastel pencils and traditional coloured pencils on the same surface.
• Subjects where building up depth and richness through multiple layers is key.

My Tip and Verdict for Canson Mi-Teintes Touch

Canson Mi-Teintes Touch is a strong contender if you're looking for a sanded-type paper that performs admirably with both pastel pencils and dry coloured pencils like Polychromos.

Its ability to take many layers of pigment is a real plus, and it allows pastel pencils to be blended smoothly with tools.

Do be prepared for a bit of dust and slightly faster pencil wear due to its abrasive nature, and know that achieving perfectly straight, crisp lines might be a little trickier than on a smoother paper.

I was particularly delighted with the effect when I created a white cow portrait on this paper using oil-based coloured pencils (my Polychromos).

The way the paper grabbed the pigment and allowed for the building of nuanced layers was very effective for that subject, giving a lovely depth to the whites and subtle colours.

Verdict: A great choice if you enjoy the feel and performance of a sanded surface and want excellent layering capabilities for either pastel pencils or traditional coloured pencils. Its versatility across both pencil types is a definite advantage.

Canson Mi-Tientes Velvet (430gsm)

A relatively newer addition to the Canson Mi-Teintes family, and launched in 2024, the 'Velvet' is quite distinct from the traditional Mi-Teintes papers and even its 'Touch' (sanded) sibling.

This is a thick, substantial paper at a hefty 430gsm, and its special pastel surface is on one side only.

My experience suggests it behaves much more like a high-performance coated paper with a very fine, almost imperceptible tooth, perhaps akin to surfaces like Clairefontaine Pastelmat, rather than a traditional grained or more obviously sanded paper.

How Pastel Pencils Perform on Canson Mi-Teintes Velvet

I found the Canson Mi-Teintes Velvet absolutely lovely to work on with my Cretacolor pastel pencils. It was a very satisfying experience.

• There's an extremely fine, almost undetectable grit to the surface that just gently, but very effectively, grabs the pencil pigment. It’s a much finer toothed surface than either the Art Spectrum Colourfix or the Canson Mi-Teintes Touch papers.
• The pastel pencil went down very evenly from the first stroke
• Its layering capacity was exceptional – I genuinely lost count of how many layers I applied, and it just seemed ready and willing to accept more! This is a huge plus for building rich colour.
• Blending was beautifully smooth, and the colours mixed together very well with my finger or a blending tool.
• Linework, while having a little bit of texture imparted by the fine surface, appeared clean and didn't look wobbly, allowing for good control and detail.

How Coloured Pencils Performed on Canson Mi-Teintes Velvet

Using my Faber-Castell Polychromos on Mi-Teintes Velvet was also a very enjoyable and impressive experience.

• There was no scratchiness at all during application, which was lovely.
• Remarkably, there was no noticeable dust generated when using the Polychromos, which is often a concern with more abrasive surfaces.
• The paper took many, many layers of Polychromos – I again lost count – and crucially, it didn't become slick or slippery, which can often happen on less receptive surfaces after only a few layers of wax/oil-based pencil. It just kept taking the colour.
• Linework with the Polychromos was smooth and even, with no wobbles at all.

Pros for Pastel Pencils (and Dry Coloured Pencils on Canson Mi-Teintes Velvet)

• Exceptional Layering Capability: Takes a very high number of layers for both pastel pencils and dry coloured pencils.
• Smooth, Even Application: Allows for very controlled and even pigment laydown.
• Beautiful Blending (Pastel Pencils): Pastel pencils blend smoothly and colours mix well.
• Clean Linework: Produces clean, even linework with both types of pencils, with minimal texture interference.
• Very Gentle on Leads & Low Dust (especially for Polychromos): No significant pencil wear noted, and remarkably little to no dust with Polychromos.
• Substantial Weight: The 430gsm provides a very stable, robust, and luxurious-feeling surface.
• Pleasant Working Feel: Generally a lovely paper to work on.

Cons for Pastel Pencils (and Dry Coloured Pencils on Canson Mi-Teintes Velvet)

• Cost: Being a premium, heavyweight, specialist surface, it's likely to be positioned at a higher price point than traditional pastel papers.
• One-Sided: The specialist pastel surface is on one side only.
• Availability: As a newer paper (released 2024), its availability in all art shops might initially be less widespread than more established lines, though this will likely improve.

Suitability for Coloured Pencils on Canson Mi-Teintes Velvet

Excellent. My tests showed that Canson Mi-Teintes Velvet is a fantastic surface for dry coloured pencils like Polychromos.

It takes a very high number of layers without burnishing prematurely and, impressively, produces no noticeable dust. It allows for smooth application and clean lines, making it suitable for highly detailed and richly layered coloured pencil work.

Best For (Using on Canson Mi-Teintes Velvet)

• Artists who require extensive layering capabilities for either their pastel pencils or their traditional coloured pencils.
• Achieving rich, deep colours and exceptionally smooth blends with pastel pencils.
• Detailed work where clean lines and an even, minimally textured application are important for both pencil types.
• Creating high-quality, finished artworks where the quality, durability, and luxurious feel of the paper are paramount.
• Artists who appreciate a surface that is gentle on pencil leads and produces minimal dust, especially with wax/oil-based coloured pencils.

My Tip and Verdict for Canson Mi-Teintes Velvet

Canson Mi-Teintes Velvet is a truly impressive and highly versatile surface that I thoroughly enjoyed testing.

Its ability to take what felt like countless layers of both pastel pencil and Polychromos without becoming slick or resistant is a standout feature, and the remarkable lack of dust with Polychromos was a real bonus.

It feels like a luxury paper that offers a performance that could be compared to other premium coated surfaces like Clairefontaine Pastelmat, with a very fine, effective, yet gentle tooth.

While it is a one-sided paper and likely to be in a higher price bracket, its outstanding performance for detailed work, extensive layering, and smooth blending makes it a strong recommendation.

Verdict: A superb, high-quality choice for artists looking for a top-tier, reliable surface for both their pastel pencil and traditional coloured pencil art, especially when deep layering and a refined finish are desired. It feels like a modern evolution in pastel paper technology.

Sennelier Soft Pastel Card (360gsm)

Sennelier, a historic and highly respected French art materials manufacturer, produces this Soft Pastel Card.

It's a very thick, stiff card, around 360gsm, designed to provide a robust and receptive surface for pastel work.

The surface I tested, in a sandy colour, had a unique "fibrous feeling" when I ran my fingers over it; you could feel the fibres moving slightly. It had a definite texture, but I wouldn't describe it as gritty in the same way as a typical sanded pastel paper.

How Pastel Pencils Perform on Sennelier Soft Pastel Card

My experience with Cretacolor pastel pencils on the Sennelier Soft Pastel Card had some interesting characteristics.

• Initially, the surface felt quite scratchy as the pastel pencil went down, but the colour applied evenly in a single layer.
• The paper "pulls the pastel off the pencil," as you'd expect from a toothy surface, but surprisingly, there was very little dust created with the first layer.
• As I built up layers, the second layer effectively filled in any initial gaps in coverage. It was around the 3rd or 4th layers that I started to notice more dust being created.
• By the 5th layer, the initial scratchy feeling and sound were no longer apparent, and the surface felt smoother to work on. I was able to add a 6th layer to achieve a real depth of colour, indicating good layering capacity.
• Blending was a real highlight. When I layered a second colour over the first, it "almost blended itself" into the initial layer beautifully. Using a cotton bud smoothed it out even further, creating lovely soft transitions.
• Lead wear was noticeable; I needed to sharpen my pastel pencil after completing the three main test swatches (single layer, layered, and blended).
• Linework was a bit hit and miss; ruled lines were relatively smooth, although some gaps did appear where the pencil skipped over the fibrous texture.

How Coloured Pencils Performed on Sennelier Soft Pastel Card

Testing with Faber-Castell Polychromos revealed a different set of responses from this surface.

• The Polychromos went down smoother than I expected, with less of the initial scratchiness I felt with the pastel pencils.
• The paper took many layers of Polychromos. I observed that the pigment was at what I'd consider full strength after about three layers, meaning good coverage was achieved quickly. However, you could continue to add more subtle layers on top if desired.
• I did notice quite a bit of dust being generated around the 3-layer (full strength) point with the Polychromos.
• Linework with Polychromos was also a bit "hit and miss." Strangely, even when drawing horizontal lines, the texture of the paper sometimes seemed to create the appearance of minute vertical lines within the drawn line, which was an unexpected effect.

Pros for Pastel Pencils (on Sennelier Soft Pastel Card)

• Good Layering Capacity: Takes up to 6 layers of pastel pencil, allowing for good depth of colour.
• Excellent Blending: Colours almost blend themselves when layered and respond very well to tools like cotton buds.
• Even Initial Application: Colour goes down evenly despite the initial scratchy feel.
• Low Dust (Initially): Produces surprisingly little dust with the first few layers of pastel pencil.
• Unique Fibrous Texture: Offers a distinct feel that isn't overtly gritty.

Cons for Pastel Pencils (on Sennelier Soft Pastel Card)

• Initial Scratchiness: Can feel quite scratchy during the first few layers.
• Lead Wear: Will wear down pastel pencil cores.
• Inconsistent Linework: Achieving perfectly smooth, solid lines can be a bit "hit and miss" due to the fibrous texture.
• Dust Increases with Layers: Dust generation becomes more noticeable with more layers.

Suitability for Coloured Pencils on Sennelier Soft Pastel Card

Okay, but with reservations. While Polychromos layer well and achieve good coverage quickly, the significant dust creation at that point and the "hit and miss" nature of the linework, including the strange appearance of minute vertical lines, make me less enthusiastic about it for detailed traditional coloured pencil work.

Best for

• Pastel pencil artists who prioritise excellent blending capabilities and good layering.
• Works where a slightly fibrous, non-gritty texture is desired.
• Artists who don't mind some pencil wear in exchange for good pigment adhesion and blendability.
• Pieces where perfect, crisp linework is not the primary focus.

My Tip and Verdict for Sennelier Soft Pastel Card

The Sennelier Soft Pastel Card is certainly an interesting surface with a unique character.

Its fibrous texture feels different from typical sanded papers and offers a surprisingly gentle yet effective grip for pastel pencils, especially when it comes to blending – the colours seemed to meld beautifully.

It takes a good number of layers, though be prepared for some pencil wear and an increase in dust as you build up your work.

While I would definitely use this card for my pastel pencil work, especially where blending and layering are important, I'm not quite so sure about it for traditional coloured pencils like Polychromos. The dust and the peculiar effect on linework made it less ideal for that medium in my opinion, despite its good layering.

Verdict: A very capable and enjoyable surface for pastel pencil artists who value superb blending and good layering on a uniquely fibrous, non-gritty card.

Less recommended for intricate dry coloured pencil work.

Tim Fisher 400 Art Pastel Paper (360gsm)

Tim Fisher 400 Art Pastel Paper is a substantial 360gsm surface, and the sheet I tested was a pleasant buff colour.

It's known as a sanded pastel paper, and upon handling, it has a fine, gritty feel, ready to grab pastel pigment. This paper is often favoured by artists looking for a very receptive tooth.

How Pastel Pencils Perform on Tim Fisher 400 Art Pastel Paper

Working with my Cretacolor pastel pencils on the Tim Fisher 400 paper was, a "different kettle of fish" compared to less aggressive surfaces!

• The immediate sensation was that the paper "sucked in the pigment," forming a dark, strong line instantly even with very light pressure.
• The surface has a fine, gritty feel, characteristic of a sanded paper.
• It created a lot of dust with the pastel pencils as the tooth abraded the pigment from the lead. This was significant enough that it actually caused me to sneeze – a practical point to be aware of if you're sensitive!
• A very light hand was essential when applying pastel pencil because the paper grabbed so much pigment so quickly.
• The tooth appeared to be filled after about three layers, achieving full-strength colour. However, I found I could continue layering on top of this, and I took it up to six layers in my test to assess its depth capacity.
• Blending with my finger felt a bit rough due to the gritty surface. A cotton bud wasn't ideal either, as it tended to pull at the cotton fibres. I suspect a brush or a silicone colour shaper might be better tools for blending on this particular surface. Despite the tool challenge, the result of blending two colours was actually very effective, creating a nice, rich brown where the yellow and violet overlapped.

How Coloured Pencils Performed on Tim Fisher 400 Art Pastel Paper

The performance of my Faber-Castell Polychromos on this surface was also quite surprising and very distinct.

• The paper instantly pulled the pigment from the Polychromos pencil. Even when holding the pencil at the very end to apply the lightest possible pressure, the colour went down at pretty much full strength.
• While I was able to layer substantially in terms of the paper taking more pencil, the mid-toned pencil I was testing had effectively "given all it had to give after a couple of layers" in terms of colour intensity.
  
  I continued for four layers in my test, but I felt there was no real benefit in going further for building up subtle colour nuances with this particular pencil on this surface, as full strength was achieved so rapidly.
• Linework with the Polychromos was a bit soft and blurry, with some gaps appearing, likely due to the pencil tip interacting with the gritty texture.

Pros for Pastel Pencils (on Tim Fisher 400)

• Excellent Pigment Adhesion: "Sucks in" the pigment for immediate, strong colour laydown.
• Good Layering Depth: While the tooth fills visually after about 3 layers for full strength, it can continue to take more layers for added depth (tested up to 6).
• Effective Blending Results: Despite the surface feel, blended colours mix well.
• Vivid Colour: Pastel pencil colours appear very vivid

Cons for Pastel Pencils (on Tim Fisher 400)

• Significant Dust Creation: Produces a lot of dust, which could be problematic for those with sensitivities or for keeping work clean.
• Requires a Very Light Hand: The aggressive tooth means very light pressure is needed to control pigment application.
• Rough Blending Feel: Can feel rough on the fingers when blending; specific tools might be needed.
• Linework Challenges: Can result in slightly soft, blurry, or gappy lines.
• Faster Pencil Wear: Likely to wear down pencil leads quickly due to its grittiness.

Suitability for Coloured Pencils on Tim Fisher 400

With Reservations, depending on your style. The Tim Fisher 400 paper pulls pigment from Polychromos so effectively that full-strength colour is achieved very quickly (within 2-3 layers).

While it can take more layers on top, this rapid full-strength laydown might not suit artists (like myself) who rely on building up many light, subtle layers and controlling value through pressure with traditional coloured pencils.

The linework was also not as crisp as on smoother papers. It could be useful for techniques where very bold, fast coverage is desired, but not for my typical detailed layering style.

Best For (Using Pastel Pencils on Tim Fisher 400)

• Pastel pencil artists who want immediate, strong colour impact and don't mind a very toothy, gritty surface.
• Creating works with vivid colours and good layering depth, such as expressive landscapes or scenes with backgrounds where significant dust can be managed.
• Artists who are comfortable using a very light touch.

My Tip and Verdict for Tim Fisher 400 Art Pastel Paper

The Tim Fisher 400 Art Pastel Paper is certainly a "characterful" surface!

It lives up to its sanded reputation by really grabbing and holding pastel pencil pigment, leading to very vivid colours almost instantly. If you work with a light hand, you can achieve good layering depth, and blended colours do mix effectively.

However, the significant amount of dust it created with pastel pencils was a concern for me (it even made me sneeze!), and this could be problematic for keeping detailed work clean, especially if you're doing a study where the background is left unworked and smudges are a risk.

For blending, I'd recommend experimenting with tools like brushes or silicone shapers rather than just fingers or cotton buds.

For traditional dry coloured pencils like Polychromos, while it takes the pigment very aggressively, it achieves full strength so quickly that it doesn't really suit my personal style of building many light, controlled layers.

The linework was also less defined than I prefer for detailed coloured pencil art.

Verdict: I can see myself using the Tim Fisher 400 for certain pastel pencil scenes, particularly those with full backgrounds where the dust can be managed and its vivid colour rendering would be an asset.

However, due to the dust and my tendency to be a little heavy-handed, I likely wouldn't choose it for my typical dry coloured pencil work. It's a paper that demands a specific approach.

UART Sanded Pastel Paper (400 Grade, 300gsm)

UART Sanded Pastel Paper is a well-regarded American-made surface that is popular with many pastel artists seeking a reliable, toothy ground.

It comes in various grit grades, ranging from a coarse 240 up to an extra-fine 800. The sample I tested from the Jacksons Art pack was the 400 Grade, which is generally considered a good all-round medium grit, and it's backed by a substantial 300gsm paper.

To the touch, it initially felt very similar to the Tim Fisher 400 paper, with that distinct fine, sandy texture.

How Pastel Pencils Perform on UART Sanded Pastel Paper (400 Grade)

My experience with Cretacolor pastel pencils on the UART 400 Grade paper was as follows.

• When I started applying pastel pencil, the UART 400 didn't have quite the same aggressive initial 'grab' as the Tim Fisher 400 paper, which I found a little more manageable.
• The colour laid down smoothly in a single layer, with not much dust being created at that early stage of application
• As I added more layers, more dust did become apparent, which is common with sanded surfaces. I found that the full depth of colour was achieved relatively quickly, yet the paper still allowed me to continue layering more and more on top, indicating a very good pigment-holding capacity – a real plus for building richness.
• Learning from my experience with cotton buds on the similarly gritty Fisher 400 paper, I switched to using a small bristle brush for blending on the UART. This worked beautifully; the brush blended out the pastel and mixed the colours very effectively without disturbing the paper surface or the tool.
• However, I found UART 400 wasn't ideal for precise linework with pastel pencils. Pressing heavily resulted in a rather thick line, while applying a lighter touch caused the line to have stops and starts, making consistently clean lines a challenge.

How Coloured Pencils Performed on UART Sanded Pastel Paper (400 Grade)

The Faber-Castell Polychromos also took strongly to the UART 400 surface, but with a significant caveat.

• The Polychromos pigment adhered very strongly and quickly to the paper.
• After about three layers, the tooth felt quite full, and the application began to generate noticeable dust.
• A significant issue I encountered with Polychromos on this paper was its tendency to smudge very easily. Even with my usual care (using a bridge or clean paper under my hand), simply laying a ruler on top of a coloured area to draw lines was enough to pull and smear the Polychromos pigment across the surface. This was quite problematic.

Pros for Pastel Pencils (on UART 400 Grade)

• Excellent Layering Capability: Allows for many layers of pastel pencil, facilitating deep colour and richness.
• Achieves Good Colour Depth Quickly: Full colour strength is reached efficiently.
• Blends Beautifully (with suitable tools): A bristle brush proved very effective for blending.
• Smooth Initial Laydown: Pastel colour goes down smoothly in the first layers.

Cons for Pastel Pencils (on UART 400 Grade)

• Generates Dust: Produces dust, especially as layers build up.
• Challenging for Fine Linework: Not ideal for achieving consistently fine or crisp lines; lines can be thick or broken.
• Potential for Smudging: The surface can be prone to smudging even with pastel pencils if not handled carefully, though less so than with the Polychromos in my test.

Suitability for Coloured Pencils on UART 400 Grade

With Significant Reservations. While UART 400 takes Polychromos pigment strongly and allows for quick full-strength coverage (around 3 layers before the tooth feels full and dust increases), the very significant smudging issue I experienced makes it a challenging surface for my usual techniques with these pencils, especially if clean, defined work is required.

The smearing under a ruler was a major drawback for precision.

Best for

• Pastel pencil artists who prioritise deep layering and rich blended effects.
• Creating works where very soft, blended passages are more important than razor-sharp, perfectly crisp lines.
• Artists who are particularly mindful of protecting their work from smudging as they go, perhaps using glassine or working top-to-bottom.
• Those who prefer using brushes or similar tools for blending on sanded surfaces

My Tip and Verdict for UART Sanded Pastel Paper (400 Grade)

UART 400 is undoubtedly a capable sanded surface that will allow you to build many layers of pastel pencil and achieve lovely blended results, especially if you adapt your blending tools. I'd certainly recommend a bristle brush over a cotton bud or fingers for this paper.

The pigment adheres well, and you can achieve good colour depth quickly.

However, be prepared for some dust generation as you work.

The most significant caution I have, particularly if you're thinking of incorporating dry coloured pencils like Polychromos alongside your pastels, is its propensity to smudge. I found the Polychromos smeared very easily on this surface, even with careful handling.

While its strength lies in its layering capacity for pastels, it proved less suited for work demanding very crisp, clean linework with either medium.

Verdict: A good choice for expressive pastel pencil work rich in layers and blends, but exercise extreme caution with smudging, especially if using wax/oil-based coloured pencils. Not the best for artists who require very precise, clean lines.

Lux Archival Sanded Pastel Paper

Lux Archival is a premium sanded paper, often cited for its excellent archival quality and its consistent, fine surface.

It's specifically designed by artists, for artists, to provide an excellent and reliable tooth for coloured pencils and other dry media. Given its reputation, I was very keen to see how it would perform with both my Cretacolor pastel pencils and my Faber-Castell Polychromos.

How Pastel Pencils Perform on Lux Archival Sanded Paper

My experience with Cretacolor pastel pencils on Lux Archival was very positive.

• When I first touched the paper, I could feel its fine texture, but it didn't feel overly abrasive or harsh to my fingers.
• As I applied the pastel pencil, the paper grabbed the pigment effectively but not too aggressively, and encouragingly, there wasn't a noticeably scratchy sound, which can sometimes occur with other sanded surfaces.
• I found that holding the pencil towards its end and using a low angle to the page allowed me to apply a nice, light initial layer. (My very first attempt was a little heavy-handed until I got the feel for its receptiveness – it doesn't require a lot of pressure!)
• It took about 4 layers of pastel pencil to achieve the full value and depth from the pigment, but the paper clearly indicated it would have happily taken more layers if I had wished.
• Blending with a small bristle brush worked wonderfully on this surface, giving a smooth blend with soft edges, which I could then easily layer over if needed.
• The surface did wear the pencil down, as is expected with any sanded paper, and I noted to myself that I should have sharpened my pencil before attempting very fine linework after the layering tests to get the crispest result.

How  Coloured Pencils Performed on Lux Archival Sanded Paper

I was also very happy with how my Faber-Castell Polychromos performed on the Lux Archival paper.

• Again, holding the pencil near its end allowed for a soft single layer of Polychromos pigment to go down smoothly and evenly.
• I applied 5 layers to reach what I considered full value with the Polychromos, but it was clear that the paper would have willingly taken even more; the fine gritty surface was still very receptive to further pigment without becoming slick.
• Both types of pencil (pastel and Polychromos) created a little dust, which is typical as the sanded surface gently shaves pigment from the pencil core, though I didn't find it excessive.
• A good test for its ability to hold detail was writing small lettering with the Polychromos, which remained perfectly readable and clear.
• Overall, it was a pleasant and responsive experience with both types of pencil.

Pros for Pastel Pencils (and Coloured Pencils on Lux Archival)

Excellent Layering Capability: Takes many layers of both pastel pencils and dry coloured pencils with ease.

Effective Pigment Grip: Grabs pigment effectively but not overly aggressively, allowing for control.

Smooth Blending (Pastel Pencils): Allows for beautiful, smooth blending of pastel pencils when using appropriate tools like a bristle brush.

Supports Fine Detail: Capable of holding fine detail, as evidenced by readable small lettering with Polychromos.

Pleasant Working Surface: Feels good to work on without being harshly abrasive to the touch.

Relatively Low Dust (for a sanded paper): Produced relatively little dust, especially on initial layers.

Cons for Pastel Pencils (and Dry Coloured Pencils on Lux Archival)

• Pencil Wear: Will cause more pencil wear than non-sanded papers, which is the standard trade-off for excellent layering on sanded surfaces.
• Linework Precision: Achieving the very finest linework might require ensuring your pencil point is kept consistently sharp due to the tooth.
• Cost: As a premium, archival-quality sanded paper, it is sold at a higher price point compared to traditional or student-grade papers.

Suitability for Coloured Pencils on Lux Archival

Excellent. My tests confirmed that Lux Archival is a highly capable and enjoyable surface for dry coloured pencils like Polychromos.

It allows for many layers without the surface becoming slick prematurely and supports good, clear detail. It's a wonderful choice for coloured pencil artists who like a toothy ground.

Best For

• Artists who require significant layering capabilities for depth and richness in either pastel pencil or traditional coloured pencil work.
• Achieving smooth blends with pastel pencils (using appropriate blending tools).
• Detailed work that also benefits from the grip and layering potential of a toothy, sanded surface.
• Creating professional, archival-quality artworks where the longevity and stability of the paper are paramount.
• Artists who appreciate a sanded surface that offers a good balance between tooth and a refined feel.

My Tip and Verdict for Lux Archival Sanded Paper

Lux Archival sanded paper is a genuine delight to use and certainly lives up to its excellent reputation within the artist community.

It offers a wonderful balance, providing enough tooth to grab pigment effectively for many layers of both pastel pencil and traditional coloured pencils, without feeling overly aggressive or scratchy during application.

The ability to achieve fine, readable lettering with Polychromos is a testament to its well-engineered and consistent surface.

It performed so well and felt so good under the pencils that it genuinely inspired me – I'm now very keen to do a full coloured pencil drawing on it to explore its potential further!

While it will, of course, wear your pencils down more than smoother papers (as all good sanded papers do), its superb performance, especially for layering, its pleasant working feel, and its archival quality make it a top contender.

Verdict: A premium, high-performing, and archival sanded surface that I would highly recommend for artists looking to create serious, beautifully layered work with either pastel pencils or traditional coloured pencils. It's a joy to work on.

Choosing Your Specialist Pastel Surface: Final Thoughts and Next Steps

We've journeyed through some truly fascinating and high-performing specialist pastel papers in this section – from the noticeable grit of various sanded surfaces like the [Link: Art Spectrum Colourfix], [Link: Canson Mi-Teintes Touch], [Link: Tim Fisher 400], [Link: UART 400 Grade], and the delightful [Link: Lux Archival], to the unique coated feel of the [Link: Sennelier Soft Pastel Card] and the impressive smoothness of the [Link: Canson Mi-Teintes Velvet].

What these papers generally have in common is their engineered ability to grab and hold a significant amount of pastel pigment, allowing for those deep, rich layers and extensive blending that many pastel pencil artists aspire to.

They often provide a robust and durable surface that can stand up to more demanding techniques.

The trade-off, as we've seen, can sometimes be faster pencil wear, a bit more initial dust, and often a higher price point compared to traditional papers.

Some also have very distinct textures that will influence your linework and final finish.

My Key Takeaway for You:

If you're looking to achieve more 'painterly' effects, build substantial depth of colour, or simply want a surface that gives your pastel pencils maximum opportunity to adhere and shine, exploring these specialist papers is an excellent step in your artistic development.

Each one offers a slightly different experience, as my tests have shown.

The "best" one for you will truly come down to:

• Your preferred level of "tooth" or grit.
• The amount of layering your style demands.
• How much you value smooth blending versus textural effects.
• Your budget and the type of final artwork you envision.

I sincerely hope that my hands-on reviews and observations have given you a clearer understanding of what these specialist surfaces can offer and have helped you identify a few that you might be excited to try.

Remember, my experiences are a guide; your own touch and techniques will lead you to your personal favourites!

Where to Go From Here?

• To refresh your understanding of the fundamental principles of any pastel paper (like tooth, weight, and the impact of colour), do revisit my main Ultimate Guide to Choosing Pastel Paper for Artists.
• If you found the idea of these toothy surfaces a bit much for your current style, or if you're just starting out, you might prefer to begin with my reviews of Traditional Pastel Papers.
• Read my in-depth thoughts on a perennial favourite in my Clairefontaine Pastelmat Card Review.
• Or, for a completely different tactile experience, why not learn about the unique qualities of Velour Pastel Paper?

Thank you for exploring these specialist pastel papers with me. The world of art surfaces is vast and exciting, and finding those that truly resonate with your creative vision is a wonderful part of the journey. Happy experimenting!

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