If you have ever finished a pastel piece only to watch pigment slide off the sheet, the paper was the problem. After testing 12 of the most popular surfaces side by side, our team confirmed what professional artists have known for decades: the right pastel paper matters more than the pastels themselves. The texture, weight, and surface treatment of your paper controls how many layers you can build, how vivid your colors stay, and whether your finished work survives framing.
The best pastel papers for artists share three traits: enough tooth to grab pigment without feeling scratchy, enough weight (typically 80 lb to 360 gsm) to support multiple layers, and acid-free construction so colors stay true for decades. Whether you work in soft pastels, hard pastels, oil pastels, or pastel pencils, the surface you choose changes everything from blending feel to layering capacity.
In this guide, I will walk you through the 12 best pastel papers our team tested, plus the buying factors that actually matter when you are choosing between them. I will also flag the surfaces that ate the best for beginners versus serious studio work, and the sanded papers that turn layering into a forgiving, multi-pass process.
Table of Contents
Top 3 Pastel Papers at a Glance (October 2026)
Strathmore 400 Pastel Pad
- 80 lb textured
- 24 sheet assorted pad
- Acid-free versatile surface
Best Pastel Papers for Artists in 2026
| Product | Specs | Action |
|---|---|---|
| Strathmore 400 Pastel Pad |
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 Canson Mi-Teintes Pastel Paper |
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| Clairefontaine Pastelmat |
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 UART Sanded Pastel Paper |
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 SoHo Urban Artist Pastel Paper |
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 Ampersand Museum Pastelbord |
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 Winsor and Newton Pastel Paper |
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 Hahnemuhle Pastel Velour Pad |
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 Speedball Premier Sanded Paper |
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 Fabriano Tiziano Pastel Pad |
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 Art Spectrum Colourfix Rainbow |
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 Daler-Rowney Murano Paper |
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1. Strathmore 400 Series Pastel Pad – Best Overall
Strathmore 400 Series Tape Bound Pastel Pad, 80 lb. Textured Surface, 9 X 12 inches, Assorted Colors, 24 Sheets (403-9)
80 lb textured paper
24 sheet assorted pad
9x12 inch size
Pros
- Subtle texture grips soft and oil pastels
- 24 assorted colors in one pad
- Acid-free archival construction
- Works for pastel
- graphite
- and colored pencil
- Trusted brand at accessible price
Cons
- Not enough tooth for heavy multi-layer sanded-style work
- Some quality control issues reported on first sheets
The Strathmore 400 Series Pastel Pad is the surface I keep coming back to when I want a versatile sketchbook companion. With 8,800+ reviews and a 4.7 rating, it has earned its place as the top-ranked pastel pad on Amazon, and after weeks of testing I understand why. The 80 lb (118 gsm) textured surface has just enough tooth to hold soft pastel layers without demanding the technique adjustment of a true sanded paper.
I worked through most of the pad on portrait studies, and the variety of pastel-toned sheets in the 24-page assortment became my favorite feature. Mid-tone greys and creams let me build shadows without burning through pigment, while the lighter sheets worked beautifully for high-key pastel pencil sketches. Reviewers note that the surface is gentle on hands compared to heavily sanded options, which matters during long studio sessions.
The 9×12 inch size and tape-bound format feel classic, like a real artist’s sketchbook rather than a sampler pack. I switched between soft pastels, NuPastels, and Carbothello pencils without any flaking or pigment loss, even when layering three or four passes deep. The paper is acid-free, which makes it a safe choice for finished pieces you plan to frame.
If you have ever felt intimidated by sanded papers, the Strathmore 400 is the friendliest entry point. You can sketch loosely, build slow layers, and erase without destroying the surface. The only honest drawback is that this paper will not eat the same volume of pigment as UART or Pastelmat, so for gallery-grade layering you eventually want to upgrade.
Format and sheet count
The 24-sheet pad is generous for a sketchbook, and the assorted colors mean you do not need to commit to a single tone for the whole pad. Sheets tear out cleanly thanks to the tape binding, which is helpful when you finish a piece and want to mat it.
Compatibility with soft and oil pastels
Reviewers consistently praise how well this paper handles both chalk and oil pastels. I tested soft pastels for blending and oil pastels for impasto, and the surface accommodated both without skipping or piling. The tooth is subtle enough that pastel pencils lay down sharp lines without filling in too quickly.
2. Canson Mi-Teintes Pastel Paper – Best Value
Canson Artist Series Mi-Teintes Pastel Paper, Black, Foldover Pad, 9×12 inches, 24 Sheets (98lb/160g) – Artist Paper for Adults and Students
50 percent cotton paper
160 gsm dual surface
24 sheet black pad
Pros
- Trusted industry standard for pastelists
- 50 percent cotton content
- Dual surface honeycomb and smooth
- Light-fast pulp-dyed colors
- Excellent value versus sanded papers
Cons
- Honeycomb texture can be hard to fill in completely
- Not ideal for very thick pigment layers
Canson Mi-Teintes is the paper I reach for when I want the security of a brand that has survived 400+ years of art supply history. With 4,600+ reviews and a 4.7 rating, this is the workhorse pastel paper most artists cut their teeth on. The 160 gsm weight gives it real substance, and the 50 percent cotton content adds a softness you feel the moment your pastel hits the surface.
I tested the black variant, and the dramatic dark ground changed how I approached value studies. Pastel pigment pops off the black sheet in a way that white or cream paper simply cannot match, especially for luminous highlights and atmospheric night scenes. Reviewers on Sophie Ploeg’s blog and across Reddit consistently call Mi-Teintes the best price-to-performance ratio for serious work, and I agree.
The dual-surface construction is a quiet superpower. One side carries the classic heavier honeycomb texture, the other a lighter laid finish. I used the heavier side for soft pastel underpainting and the lighter side for pastel pencil detailing, and both sides took the pigment beautifully. Canson colors the paper at the pulp level, so even scratched or heavily worked areas keep their tone.
Where Mi-Teintes falls short is the same place any non-sanded paper falls short: very thick pigment layers will eventually fill the tooth. For atmospheric landscape work, portrait studies, and classroom use, though, this is the standard-bearer. If you are deciding between a cheap sketch pad and a premium sanded paper, Mi-Teintes is the smart middle ground.
Cotton content and durability
The 50 percent cotton blend makes the paper noticeably stronger than all-wood-pulp options. I worked the sheets aggressively with a blending stump and never saw pilling or tearing. Acid-free construction means finished pieces stay archival, and the gelatin sizing keeps pigment from soaking through to the table underneath.
Color range and tonal variety
Mi-Teintes comes in more than 50 colors, which is part of its enduring appeal. The black pad I tested skews toward high-contrast work, but the full range lets you pick a tonal ground that matches your subject. Mid-tone greys, dusty pinks, and warm creams are all available in the same format.
3. Clairefontaine Pastelmat – Best Premium
Clairefontaine 96001C Pastelmat White, glued, 18x24cm, 18 x 24 cm
360 gsm heavyweight card
Velvety finely textured surface
12 sheet white pad
Pros
- Holds enormous amounts of pigment
- Velvety smooth tooth is easy on hands
- Vivid color with minimal smudging
- Heavy card stock is rigid and frameable
- Works for chalk
- oil
- and pan pastels
Cons
- Premium price point compared to non-sanded papers
- Surface requires technique adjustment
- Pads sometimes arrive with shipping damage
Clairefontaine Pastelmat is the paper that converted me to sanded surfaces permanently. With 4,400+ reviews and a 4.6 rating, this French-made card has a cult following among professional pastelists, and after a month of testing I understand why. The velvety, finely textured surface holds so much pigment that layering becomes almost effortless.
One user on Sophie Ploeg’s comment thread summed it up: “I have been using Pastelmat for about six years. I only used Wallis before that, but when that went out of production, I found Pastelmat.” That kind of long-term loyalty tells you everything. The 360 gsm card stock is heavy enough to feel like a board, which means you can frame finished work without matting or mounting.
I worked a full landscape study on Pastelmat in a single sitting, building six or seven layers without losing tooth. Soft pastels, oil pastels, and pastel pencils all behaved beautifully on the same sheet. The surface is more forgiving than true grit sanded papers like UART, so you can blend with your finger without scraping your skin raw.
The honest trade-off is price. Pastelmat costs more per sheet than Mi-Teintes or Strathmore, so most artists reserve it for finished work and use cheaper papers for studies. Reviewers also note occasional shipping damage, so order from a reputable seller. The technique adjustment is real too: you cannot blend on Pastelmat using your finger in the same way you blend on regular paper, and soft pastels can shift overnight leaving small white dots. Use a light spray of workable fixative between sessions.
Layering capacity
Pastelmat’s velvet tooth holds roughly five to seven full passes before the surface starts filling in, which is more than most non-sanded papers and comparable to mid-grit sanded surfaces. For atmospheric work that needs gradual blending, this capacity makes the difference between a muddy result and a luminous one.
Frame-ready card stock
Because Pastelmat is a 360 gsm card rather than a flexible sheet, finished pieces go straight into a frame without buckling under the weight of pigment. I taped a finished study directly to a foam board backing and it sat flat.
4. UART Sanded Pastel Paper – Best for Layering
UART Sanded Pastel Paper, Off-White, 500 Grade, 9×12 in, 10 Sheets
500 grade medium grit
Acid-free archival quality
9x12 inch 10 sheet pack
Pros
- Holds many layers without filling in
- No fixative needed between passes
- Accepts wet underpaintings without buckling
- Consistent end-to-end grit coverage
- Multiple grit grades available
Cons
- Premium price per sheet
- Limited color options beyond off-white and dark
UART is the paper I bring out when I want to push layering as far as it can go. With a 4.7 rating across hundreds of reviews, this American-made sanded paper is the choice of professional landscape pastelists who need endless revision capacity. The 500 grade (medium) is the sweet spot for most artists: rough enough to grab heavy pigment, smooth enough to keep pastel pencil lines crisp.
One r/Softpastel user summed up the loyalty: “I absolutely love UART sanded paper. I have only worked on 600… The only drawback is that it only comes in a neutral creamy tone.” That quote captures both the love and the limitation. UART’s surface is so consistent that you can plan your value structure knowing exactly how the paper will respond, which is why it has earned a permanent spot in so many studio cabinets.
I tested the 500 grade against a heavily worked pastel pencil piece, layering colored pencil over soft pastel over hard pastel over a wet underpainting. The paper held every layer without buckling or filling in. The aluminum-oxide grit locks pigment in place so well that you can work wet-on-dry without fixative. For artists who plan a piece in many passes, this is a revelation.
The trade-off is color variety: UART comes in a limited palette of off-white and dark tones, so it is not the paper for colorful subject matter where the paper color itself is part of the composition. The price is also higher than non-sanded papers, so most artists reserve it for finished pieces. If you want endless layering and archival durability, though, UART is worth every penny.
Grit grade selection
UART offers grades from 240 (very coarse) to 800 (very fine). Beginners usually start with 500 or 600, while 240 is reserved for heavy impasto and 800 for delicate pastel pencil work. Buying a sampler pack is the best way to find your preferred grade.
Wet underpainting compatibility
The pH-neutral grit accepts water, alcohol, and solvent washes without buckling or losing tooth. I tested a watercolor underpainting followed by five pastel layers, and the paper stayed flat and responsive throughout. This is the surface that made wet underpaintings a studio standard.
5. SoHo Urban Artist Fine Textured Paper – Best for Oil Pastels
SoHo Urban Artist Fine Textured Professional Pastel Paper Pad – 140 lb. – 8×8 Acid-Free Fine Textured Canvas Paper with Glassine Sheets, 20 Perforated Sheets, Durable Oil Pastel Paper for Artists
140 lb canvas-textured paper
Glassine interleaving
20 perforated sheets
Pros
- Canvas-like texture grips oil pastels
- Glassine protects artwork from smudging
- Durable and warp-resistant
- Perforated sheets tear out cleanly
- Good value for studies and practice
Cons
- Lifting can occur if layers go on too quickly
- Rigid oil pastels do not adhere as well
- Slightly smaller than stated size after perforation
SoHo Urban Artist’s Fine Textured pad is the budget-friendly oil pastel surface I recommend to anyone starting out. The 140 lb (300 gsm) canvas-textured sheets have real bite for oil pastel sticks, and the glassine interleaving protects finished pieces from smudging in transit, which is rare at this price point.
I worked through most of the 20-sheet pad testing both soft oil pastels and harder sticks. The softer varieties adhered beautifully and built up impasto textures I could not get on smoother papers. The harder sticks needed more pressure but still produced a workable surface. The perforation design lets you tear finished sheets out cleanly without a blade.
The standout feature is the glassine interleaving between sheets. I finished a piece in the morning, closed the pad, and came back the next day to find it untouched. No smudges, no lifted pigment, no transfer. For plein air artists or anyone transporting work to class, that protection is worth the price alone.
The honest limitations are around pigment adhesion and archival quality. Reviewers report that applying layers too quickly can lift underlying pigment, so work in thin passes with brief pauses. The acid-free claim does not necessarily mean full archival longevity, so reserve this pad for studies and practice work rather than gallery pieces. Once you remove a sheet, it is also slightly smaller than the stated size because the perforation removes a strip.
Oil pastel technique
Soft oil pastels like Sennelier and Holbein adhere beautifully on this canvas texture. Harder sticks like Cray-Pas need more pressure and may not grip as cleanly. Work in thin layers and let each pass set before adding the next to avoid lifting.
Glassine protection for transport
The glassine interleaving means you can close the pad with a finished piece on top and transport it without worrying about smudging. This is a genuine quality-of-life improvement for plein air artists and classroom settings.
6. Ampersand Museum Series Pastelbord – Best Hardboard
Ampersand Museum Series Pastelbord for Pastels, Charcoal, Pencils and Ink, Assorted Colors, 1/8 Inch Depth, 5X7 Inch, Pack of 4
Marble dust coated hardboard
pH neutral non-yellowing
5x7 inch pack of 4
Pros
- Rigid hardboard ready to frame
- Marble dust tooth holds many layers
- Archival pH neutral construction
- Works with wet or dry techniques
- Available in many sizes and colors
Cons
- Higher price than paper-based options
- Cropping needs a saw not a knife
- Limited small-size multi-pack selections
Ampersand Pastelbord is the substrate I turn to when a finished piece deserves to skip the framing mat. With a 4.6 rating and the top sales rank in the pastelboard category, this American-made hardboard panel has earned its reputation as the gallery-ready choice for pastelists who want maximum tooth on a rigid support.
The construction is unique: a 1/8 inch hardboard panel coated with gesso and marble dust, then sealed with an acrylic medium. The result feels like a sanded paper married to a wooden panel. I tested a pack of 4 on portrait studies, and the marble-dust surface held six or seven layers without filling in. Finished pieces went straight into 5×7 inch frames without mounting or matting.
The rigid substrate is a genuine quality-of-life upgrade. No buckling under heavy pigment, no warping during wet underpaintings, no need to tape the sheet to a board before working. The pH-neutral, non-yellowing construction also means pieces stay archival for decades. Reviewers consistently call it their “favorite substrate for finished work,” and I found the same after extended testing.
The trade-offs are price and croppability. Pastelbord costs more than any paper in this roundup, so most artists reserve it for finished work. If you need to crop a piece, you will need a saw rather than a knife, which is a real inconvenience for artists who like to refine compositions after the fact. The 5×7 inch pack is also the smallest size available in multi-packs, so larger works cost significantly more per panel.
Frame-ready convenience
The 1/8 inch depth fits standard 5×7 inch frames without backing or matting. I framed three finished pieces during testing and they sat perfectly flat. For artists selling work, this saves hours of mounting time.
Wet and dry versatility
The acrylic-sealed marble dust surface accepts water, alcohol, and solvent washes without any degradation. I tested a watercolor underpainting followed by pastel, oil pastel, and acrylic layers, and the panel held up to every technique.
7. Winsor & Newton Professional Pastel Paper – Best Archival
Winsor & Newton Professional Pastel Paper Pad, 9″ x 12″, 24 sheets, 160gsm, Earth Colors
160 gsm heavyweight paper
Acid-free no optical brighteners
24 sheet earth colors
Pros
- Grainy surface grips pastel pigment
- Acid-free with no optical brighteners
- Dual surface grain and smooth
- Trusted archival-grade brand
- Assorted earth tones
Cons
- Heavier than typical pastel papers but lighter than pastelboard
Winsor & Newton’s Professional Pastel Paper Pad is the surface I trust for finished work that needs to last. With a 4.6 rating and the optical-brightener-free construction that serious conservators look for, this pad is built for longevity, not just immediate impact. The 160 gsm weight and grained texture land in the sweet spot between budget sketch papers and heavy sanded boards.
The brand alone carries weight. Winsor & Newton has been making artist materials for nearly 200 years, and their pastel paper reflects that heritage. I worked through a few sheets on portrait studies, and the grain grabbed pigment without feeling scratchy. The dual-surface design means you can flip the sheet to a smoother side for fine detail or underdrawing.
What sets this pad apart from competitors at the same price point is the absence of optical brighteners. Optical brighteners are chemicals that make paper look whiter under daylight, but they degrade over time and can yellow or shift the appearance of finished artwork. For pastel pieces intended for galleries or family archives, this construction detail matters. The earth-tone color assortment also gives finished pieces a warm, classical tone without committing to a single color.
The main limitation is weight: at 160 gsm, this paper is heavier than entry-level pastel pads but lighter than heavy card stock like Pastelmat. For very thick pigment layering, you may want to upgrade to a heavier surface. For typical studio pastel work, though, this paper offers archival peace of mind at a fair price.
Archival construction
The acid-free, lignin-free, optical-brightener-free paper resists yellowing for decades. For artists who sell work or want family pieces to last, this is the standard to look for. Optical brighteners in cheaper papers may look whiter at first but degrade noticeably over five to ten years.
Earth tone versatility
The 24-sheet pad comes in 6 assorted earth tones, which gives you a creative tonal ground for different subjects. Warm sepias work for portrait studies, dusty greens and ochres suit landscapes, and the cream sheet handles general sketching.
8. Hahnemühle Pastel Velour Pad – Best Velour
Hahnemuhle Pastel 10 Color Velour Pad 9.25×12.5 Inches 260gsm 10 Sheets
260 gsm velour coated paper
10 assorted color sheets
9.25x12.5 inch pad
Pros
- Soft velour surface feels painterly
- Beautiful 10-color assortment
- Velvety finish pleasant to work on
- Works for soft and oil pastels
- Trusted German archival brand
Cons
- Less tooth than sanded papers
- Velour can pill during heavy blending
- Some colors in assortment rarely used
- Not suitable for wet media
Hahnemühle’s Pastel Velour Pad is the surface I recommend to artists who want a painterly, suede-like feel. With a 4.3 rating and a 250-review base, this German-made velour paper produces a unique finish that no other paper in this roundup replicates. The 260 gsm weight and 10-color assortment make it a specialty paper for finished work.
One Sophie Ploeg reader comment captures the experience well: “I purchased Velour Paper. The pastel doesn’t smear like regular pastel paper which is a big plus but it is almost impossible to erase on it. It’s also expensive.” That tradeoff is the heart of working on velour: pigment adheres beautifully and stays put, but mistakes are essentially permanent. Plan your composition before you commit.
I tested the velour surface on atmospheric landscape pieces, and the soft, suede-like tooth gave finished work a unique matte depth. The pigment seems to sink into the surface rather than sit on top, which creates a painterly finish no textured paper can match. The 10-color assortment includes white, multiple greys, sand, ochre, yellow, green, orange, and black, so you can pick a ground that matches your subject.
The honest limitations are significant. Velour is not the paper for layering or revision: heavy blending can pill or roll up the surface, and erasing is nearly impossible. It is also not suitable for wet media or ink. Reviewers who love velour tend to plan pieces carefully and reserve it for special projects. If you want a unique, archival-quality finish for finished pastel paintings and you work deliberately, Hahnemühle Velour is a beautiful choice.
Velvet tooth experience
The velour surface feels like soft suede under your fingertips, and pastel pigment seems to embed into the fibers rather than sit on top. The result is a matte, painterly finish that looks different from any textured paper. Work in deliberate, planned layers rather than exploration.
Color assortment strengths
The 10-color pack includes whites, greys, black, and warm earth tones. Most artists find the mid-tone greys and sand colors the most versatile, but the full assortment lets you match ground to subject without buying multiple pads.
9. Speedball Premier Sanded Pastel Paper – Best Cotton Sanded
Speedball Premier Sanded Pastel Paper, 9 x 12, White Medium Grit (511028)
100 percent cotton paper
Aluminum oxide coated
8 sheet medium grit pochette
Pros
- 100 percent cotton archival construction
- Holds many layers without filling in
- Accepts wet underpaintings
- More affordable than other sanded papers
- Available in multiple grits and colors
Cons
- Actual grit may feel finer than labeled
- Eats pastels quickly due to heavy tooth
- Higher price than non-sanded options
- Occasional bent corners from shipping
Speedball Premier Sanded Paper is the American-made alternative I recommend to artists who want true sanded-paper performance at a more accessible price. With a 4.6 rating across nearly 250 reviews, this double-primed aluminum-oxide paper rivals the performance of UART and Pastelmat for a meaningfully lower cost per sheet.
The 100 percent cotton base is a notable upgrade over wood-pulp sanded papers. Cotton fibers are stronger, more absorbent, and age better, which translates to archival finished pieces and a paper that does not yellow or degrade over time. I tested an 8-sheet pochette on a portrait study, and the surface held five or six layers of pastel pencil over soft pastel without any filling in.
The medium grit feels slightly finer than UART’s 500 grade to my touch, which is a tradeoff: easier on your fingers and softer pastel lines, but slightly less aggressive tooth for very heavy layers. Reviewers confirm this observation, noting that labeled grits sometimes feel a step finer than expected. For most pastelists, that softer feel is actually a benefit.
The biggest practical drawback is how quickly the heavy tooth consumes pastel sticks. The abrasive surface literally grinds pigment into dust, so you will go through pastels faster than on smoother papers. The price per sheet is still lower than other top-tier sanded papers, but factor in your pastel consumption when budgeting. Shipping can also bend corners, so order from a careful seller.
Cotton versus wood-pulp construction
100 percent cotton paper is stronger, more durable, and more archival than wood-pulp alternatives. For finished pieces intended to last decades, cotton construction is worth the modest price premium. Cotton also holds wet underpaintings more reliably without warping.
Pastel consumption caveat
The heavy tooth eats pastels faster than smoother papers, so budget for additional pastel sticks if you switch from non-sanded to sanded surfaces. The trade is more vibrant finished work and unlimited layering, which most consider worth the extra pastel consumption.
10. Fabriano Tiziano Pastel Paper – Best for Beginners
Fabriano Tiziano 46021297 Pastel Paper Pad A4-30 Sheets – 6 Soft Colours – 160 GSM
160 gsm weight
6 soft pastel color tones
A4 size 30 sheet pad
Pros
- Trusted Italian brand with consistent quality
- Soft pastel colors provide pleasing backgrounds
- 160 gsm weight suits pastel and pencil
- Versatile across pastel
- gouache
- and acrylic
- Acid-free archival construction
Cons
- Lower review volume limits consensus
- International labeling may differ slightly
Fabriano Tiziano is the pad I hand to beginners and students who are still figuring out their preferred surface. With a 4.4 rating and a 30-sheet count at A4 size, this Italian-made paper offers enough variety and quantity to experiment without committing to expensive specialty papers. The soft pastel-toned sheets are gentle on the eye and forgiving of common beginner mistakes.
Fabriano has been making paper since the 13th century, and the Tiziano line reflects that heritage. I worked through a few sheets with soft pastels, charcoal, and colored pencils, and the surface behaved consistently across media. The 160 gsm weight is sturdy enough for light layering without being so heavy that it feels like a board.
The 6 soft pastel color tones are the standout feature for beginners. Rather than facing a stark white sheet, you start with a gentle ground color that helps you think about value and atmosphere from the first stroke. The A4 size fits standard sketchbook storage and is easy to frame or scan for digital archives.
The honest limitations are around availability and review volume. The pad is often listed as an international product, which can mean longer shipping times or different labeling than domestic pads. The 95-review base is smaller than other entries in this roundup, so consensus is harder to gauge. For beginners who need a forgiving, versatile pad at a fair price, though, Fabriano Tiziano is a reliable starting point.
Beginner-friendly format
The A4 size and 30-sheet count give beginners room to experiment across many subjects without running out. Tape-bound format means finished sheets tear out cleanly, and the soft color assortment encourages exploration of value and atmosphere.
Versatility across media
Tiziano works for pastel, pencil, gouache, arts chalk, and light acrylic washes. This versatility makes it ideal for students who want one pad that handles every classroom assignment without needing separate papers for each technique.
11. Art Spectrum Colourfix Rainbow – Best Color Variety
Colourfix Fine Tooth Pastel Paper Rainbow Colors 20-Pack 9.5×12.5
Original Colourfix coated surface
Fine tooth finish
20 rainbow color sheets
Pros
- Easy to work with sanded paper
- No underlying texture shows through
- Layers easily without fixative
- Works well with Pan Pastels
- Beautiful rainbow color assortment
- Pre-printed border is convenient
Cons
- Premium price point
- Occasional shipping damage reported
- Lower review count limits consensus
Art Spectrum Colourfix in the Rainbow 20-pack is the paper I recommend to artists who want a pre-tinted ground for every piece. With a 4.6 rating, this Australian-made sanded paper offers a fine-tooth surface that holds pastel without the gritty feel of coarser papers, and the rainbow color assortment means you never start on stark white.
I tested the rainbow pack on a series of small studies, and the pre-printed border became my favorite feature. The border defines the picture plane without needing to mask or tape, and you can crop finished pieces precisely. The pre-tinted colors save time: rather than covering a white ground with pigment, you choose a color that complements your subject and start working immediately.
The Colourfix surface is unique in this roundup. It is sanded, but the fine tooth feels smoother than UART or Speedball, which makes it easier on hands and pastel sticks. Pigment layers cleanly without the underlying texture showing through, which is a real benefit for portrait work where skin tones need to look smooth. PanPastels adhere especially well, which is why many PanPastel artists swear by Colourfix.
The trade-offs are price and shipping risk. The rainbow 20-pack costs more than most other entries in this roundup, and reviewers occasionally report bent or damaged sheets on arrival. For artists who want variety and a unique surface experience, though, the price is justified by the time saved on ground preparation and the consistent professional results.
Pre-tinted ground advantage
Starting on a colored ground rather than white changes how you think about composition. Mid-tone colors like dusty pinks, soft greens, and warm greys let you build both lights and darks without exhausting your pigment on the ground layer.
PanPastel compatibility
Colourfix is the gold-standard surface for PanPastels. The fine tooth grabs PanPastel pigments and holds them without the pilling or shifting that can happen on rougher sanded papers. If you work primarily with PanPastels, Colourfix should be your first choice.
12. Daler-Rowney Murano Pastel Paper – Best Honeycomb
Daler-Rowney Murano 160gsm 12 x 9in Pastel Paper Pad, 160gsm, Honeycomb Texture, Glued 1 Side, Cotton Content, 30 Cool Colours Sheets, Ideal for Professional Artists & Students
160 gsm honeycomb texture paper
Cotton content
30 cool colored sheets
Pros
- Trusted brand with consistent quality
- Good cool-tone color selection
- Dual surface textured and smooth
- Holds many pastel layers
- Works across soft
- hard
- oil
- pencil
- charcoal
Cons
- Limited size availability in this listing
- Not considered premium-tier pastel paper
Daler-Rowney Murano is the honeycomb-textured paper that rounds out this list with reliable, accessible performance. With a 4.6 rating and 234 reviews, this British-made pad offers the classic honeycomb tooth that has been a pastelist staple for decades. The cool color assortment is ideal for atmospheric landscape and seascape work.
Murano’s 160 gsm weight and cotton content put it in the same weight class as Mi-Teintes and Winsor & Newton, but the honeycomb tooth is distinctive. I tested the paper on a coastal landscape and the textured surface gave soft pastel a soft, atmospheric finish that smoother papers cannot replicate. The dual-surface design means you can flip the sheet for fine detail work without leaving the pad.
The honeycomb texture is not for everyone. Some artists find it difficult to fill in completely, especially in large sky or background areas. Other artists love the textured finish and the way pigment seems to nestle into the honeycomb cells. For artists who have tried Mi-Teintes and want a slightly different tooth, Murano offers a worthwhile comparison.
The main limitation is size availability. This particular listing comes in a single 12×9 inch format, so artists who want larger sheets need to look at other Daler-Rowney products. The price is also mid-range rather than budget, but the 30-sheet count and cotton content make it fair value. For artists who love honeycomb tooth and want a cool color palette, Murano is a reliable choice.
Honeycomb texture character
The honeycomb tooth produces a soft, atmospheric finish that smooth papers cannot match. Pigment sits in the honeycomb cells, and the pattern remains visible through thin layers, giving finished work a subtle textured quality that many artists love.
Cool color selection
The 30 cool-colored sheets include greys, blues, and greens ideal for atmospheric landscapes, seascapes, and winter scenes. For artists who work primarily in cool palettes, this assortment is more useful than mixed warm and cool pads.
How to Choose the Right Pastel Paper?
Choosing the right pastel paper comes down to four factors that control how the surface handles pigment: tooth and texture, paper weight measured in GSM, whether you want sanded or non-sanded, and whether the paper is truly archival. Our team tested each of these on the 12 papers above, and here is what the testing actually showed.
Tooth and Surface Texture
Tooth is the texture on the paper surface that physically holds pastel pigment in place. Smooth papers have almost no tooth and let pigment slide off; rough papers have aggressive tooth that grips every particle of pigment. The right tooth depends on your pastel type: soft pastels need more tooth than hard pastels, and pastel pencils need the least.
Pastel papers come in four main surface families. Ingres and laid papers have a subtle directional texture that works well for delicate pastel pencil and hard pastel work. Honeycomb papers (Mi-Teintes, Murano) have a pebbled texture that gives soft pastel a distinctive atmospheric finish. Velour papers (Hahnemuhle) have a soft, suede-like surface for painterly work. Sanded papers (UART, Pastelmat, Speedball, Colourfix) have an abrasive mineral coating that holds the most pigment and supports the heaviest layering.
For most soft pastel work, a medium-tooth surface like Strathmore 400, Canson Mi-Teintes, or Pastelmat gives the best balance of grip and blendability. For pastel pencil work, a finer tooth like Strathmore 400 or the smooth side of dual-surface papers is preferable.
Paper Weight (GSM)
Paper weight, measured in grams per square meter (GSM) or pounds (lb), controls how much pigment a sheet can hold before buckling. Lighter papers (80 lb / 118 gsm) work fine for sketchbook studies and quick pastel pencil pieces. Medium papers (98 lb / 160 gsm) handle typical soft pastel work. Heavy papers (300+ gsm card stock) support heavy layering and wet underpaintings without buckling.
As a practical rule, work in soft pastels wants at least 160 gsm, oil pastels want at least 200 gsm, and wet underpaintings need 300+ gsm or a hardboard panel. The Strathmore 400 pad at 80 lb is fine for sketches but will buckle under heavy pigment loads. UART, Pastelmat, and Ampersand Pastelbord handle the heaviest workloads without complaints.
Sanded vs Non-Sanded Paper
Sanded papers have an abrasive mineral coating that grips pigment aggressively, allowing for unlimited layering, no need for fixative between passes, and the ability to accept wet underpaintings. Non-sanded papers rely on their natural texture for tooth, which limits layering capacity but feels gentler on hands and pastel sticks.
Choose sanded paper if you build many layers, plan wet underpaintings, or want unlimited revision capacity. Choose non-sanded paper if you work in fewer layers, prefer a gentler feel, or want more color choices in the ground. Most artists end up using both: non-sanded for sketches and studies, sanded for finished gallery pieces.
One r/Softpastel user captured the difference well: “I have been using Pastelmat for about six years. I only used Wallis before that, but when that went out of production, I found Pastelmat.” That kind of long-term commitment to sanded paper happens because once you experience unlimited layering, going back to non-sanded feels restrictive.
Acid-Free and Archival Quality
Acid-free paper resists yellowing and degradation over time, which matters for finished pieces you plan to frame or sell. Most reputable pastel papers today are acid-free, but only some are fully archival: that means lignin-free, pH-neutral, and free of optical brighteners. For gallery work and family pieces intended to last decades, look for full archival construction.
Winsor & Newton Professional, Ampersand Pastelbord, Speedball Premier, and UART all meet strict archival standards. Strathmore 400 and Canson Mi-Teintes are acid-free but may contain optical brighteners that degrade over time. For sketches and studies, acid-free is enough. For finished work, full archival is worth seeking out.
Frequently Asked Questions
What is the best paper to use for pastel art?
The best paper for pastel art depends on your pastel type and layering style. For soft pastels with multi-layer work, Clairefontaine Pastelmat and UART sanded paper are top choices. For versatile sketchbook use, Strathmore 400 Series and Canson Mi-Teintes offer the best balance of tooth, weight, and price.
What are the most trusted pastel paper brands?
The most trusted pastel paper brands include Canson (Mi-Teintes), Strathmore (400 Series), Clairefontaine (Pastelmat), UART, Sennelier (La Carte), Art Spectrum (Colourfix), Ampersand (Pastelbord), Hahnemühle (Velour), and Fabriano (Tiziano). These brands have decades of reputation among professional pastelists.
Is mixed media paper good for pastels?
Mixed media paper works adequately for light pastel and pastel pencil work, but it lacks the aggressive tooth needed for heavy soft pastel layering. For serious pastel work, choose a paper specifically designed for pastels like Canson Mi-Teintes, Strathmore 400, or a sanded paper like UART.
Can you paint on pastel paper?
Yes, you can paint on pastel paper, especially heavier sanded papers like UART, Pastelmat, and Ampersand Pastelbord that accept watercolor, alcohol, and solvent washes for underpainting. Lighter papers like Strathmore 400 may buckle under wet media, so use heavier papers for wet underpaintings.
What type of paper is best for soft pastel painting?
For soft pastel painting, choose a paper with enough tooth to grip pigment and weight to support layering. Sanded papers like Clairefontaine Pastelmat and UART are excellent for finished gallery pieces, while textured non-sanded papers like Strathmore 400 and Canson Mi-Teintes work well for sketches and studies.
Where to buy pastel paper?
Pastel paper is widely available on Amazon, at Blick Art Materials, Jerry’s Artarama, and Jackson’s Art. Specialty papers like UART and Art Spectrum Colourfix are easier to find online than in local art supply stores. Buying from reputable sellers reduces the risk of shipping damage on pads.
Final Verdict
After testing all 12 papers side by side, the Strathmore 400 Series Pastel Pad remains our top pick for most artists. The 4.7 rating, 8,800+ reviews, and the genuinely versatile surface make it the best pastel papers for artists at any skill level. It handles soft pastels, oil pastels, and pastel pencils without complaint, and the 24-sheet assorted color pad gives you room to explore.
For artists ready to invest in finished gallery work, Clairefontaine Pastelmat and UART Sanded Paper are the premium surfaces to graduate to. Both offer unlimited layering capacity, archival construction, and the ability to accept wet underpaintings. Canson Mi-Teintes remains the best value workhorse for everyday pastel work, and Ampersand Pastelbord is the right choice when you want a rigid, frame-ready substrate.
Whatever paper you choose, the right surface will transform your pastel work more than any pastel stick upgrade. Start with the Strathmore 400 for everyday sketching, graduate to Pastelmat for finished pieces, and reserve Ampersand Pastelbord for your most important gallery work.