Pastel Painting Supply List

If you are taking classes with me at the Yellow Barn Studio you will be provided the following studio equipment for your use during class:

• Studio easel

• Chair

• One TV tray table (or more, if enough are available for everyone) to put your supplies

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You will need to bring your own pastel materials.

 

Overview & Getting Started

If you’re new to pastels or feeling overwhelmed by choices, here are the core essentials to focus on at first:

• Set of 72 colors or more of hard or medium-hard pastels (for example Cretacolor, Richeson (Semi-Hard), Prismacolor Premier NuPastel…) On a budget, you can start with Prismacolor Premier Nupastel, set of 36, though it might limit your options.

• Sanded pastel paper (for example Colourfix Cool Pad 11.75”x16.5”) On a budget, you can start with non-sanded paper, though it might limit your options, for example Canson Mi-Teintes Pastel Pad 12" x 16", Assorted Colors.

• A soft white eraser (vinyl or plastic) for corrections

• A board to securely attach your paper with tape or clips while working.

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Once you feel comfortable, you can expand your materials to include soft pastels, pastel pencils, blending tools, and other accessories.

 

Where to Buy

I’ve had good experiences ordering from:

• Blick (general art supplies, including pastels)

• Dakota Pastels (specialized in pastel materials and a great resource for brand info)

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Feel free to explore other local or online vendors based on your preferences and budget.

 

Pastels

Pastels come in different levels of softness depending on the brand and type. (Note: Oil pastels are a different medium and not included in this classification.)

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Most artists prefer to use a combination of both soft and hard pastels to take advantage of their distinct qualities during different stages or areas of a piece. However, if you want to work with only one type, I recommend starting with hard pastels for their control and versatility.

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You can find a useful classification of popular pastel brands according to softness on Dakota Pastels’ website: Pastel Brand Comparison 2024

 

Hard Pastels

Recommended for all students

Start with hard or medium-hard pastels for controlled layering and detail work. Most brands in this category have thin, square sticks that offer precision and control.

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Example brand choices:

• From my experience: Cretacolor, Richeson (Semi-Hard), Prismacolor Premier NuPastel — all reliable and consistent performers.

• Widely available but not my favorite: Rembrandt pastels are popular but tend to be crumbly and overly hard, making smooth application more difficult.

• Other reputable brands: Holbein, Girault.

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I recommend sets with 72 colors or more for a broad palette. On a budget, you can start with Prismacolor Premier Nupastel, set of 36, though it might limit your options.

 

Soft Pastels

Optional but valuable for expressive work and final touches

Soft pastels offer vibrant color and a wider range of hues than hard pastels. On the other hand, they can clog paper quickly and are harder to control for fine detail and subtle transitions. Working with hard pastels alone is perfectly fine, but to expand your options, complement hard pastels with a set of soft pastels.

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Example brand choices:

• From my experience: Sennelier (great value), Schmincke, Unison, Richeson, Terry Ludwig.

• I prefer half-stick sets because they allow you to have more colors. Full sticks will last longer, but half-sticks will still last a long time.

• I suggest starting with a set of around 20 colors at minimum; more colors will provide greater flexibility.

 

Pastel Pencils

Optional — for detailed and small work and initial line sketching

Pastel pencils can be excellent for fine details and controlled lines. However, for most artworks, hard pastels will suffice. If you’re unsure, begin with hard pastels and consider adding pencils later if you find you need more precision.

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I often use a hard pastel or a pastel pencil for initial line sketching. For that purpose, having a black or gray pastel pencil will do. You could also use a hard pastel, charcoal stick, or charcoal pencil. I do not recommend graphite pencils.

 

Pastel Paper

Pastel papers generally fall into two broad categories: sanded and non-sanded. Each has its own strengths depending on your technique and goals.

 

Sanded Paper

Recommended for all students​

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Most professional artists and many students prefer sanded paper because it can hold many layers of pastel and often accepts washes. However, sanded paper tends to be more expensive and can be a bit harder to blend on during initial layers compared to non-sanded paper.

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For reference, here’s a Pastel Paper Comparison Chart by Dakota Pastels.

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From my own experience, these are my favorites:

• Art Spectrum Colourfix

• Canson Mi-Teintes Touch

• Pastel Premier

• Ampersand Pastelbord — very sturdy sanded board, excellent for reworking, but holds fewer layers than others.

• UArt — excellent range of grit options; downside is it tends to curl, making storage a bit tricky.

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Non-Sanded Paper

Optional as a budget-friendly alternative to sanded paper

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Non-sanded papers like Canson Mi-Teintes (original) or Strathmore Pastel Paper are budget-friendly and allow smooth blending in the initial layers. They’re suitable for quick sketches but don’t hold many layers and generally don’t accept washes.

 

Canson Mi-Teintes sheets have one side with a pronounced texture that can hold more layers, but many artists find this texture too visible or visually distracting for finished work. The reverse side is smoother and works well for sketches or pieces that don’t require much layering.

 

Choosing Size and Color

• Size: I recommend formats between about 11×14" and 18×24". Larger sizes can be harder to manage, especially for beginners, while smaller sizes require more precise control.

• Color:

  • White: A good, easy choice and ideal if you want to work with washes.

  • Light neutrals (light gray, beige): Great all-around colors.

  • Dark neutrals: Useful for night scenes or subjects with dark backgrounds.

  • Strong colors (greens, reds, blues): Work well if your subject fits that color spectrum or to exploit complementary colors.

• Pads or sheets: One option is to buy pads with assorted colors, such as the Colourfix Cool Pad (11.75"×16.5"), or Canson Mi-Teintes Pastel Pad (12" x 16"). Another option is to purchase large sheets in your preferred color. Large sheets can easily be cut in half for smaller works. I suggest starting with at least one white paper (for washes), one dark neutral paper, and several sheets of white or light neutral colors for general use. Once you settle on your preferred subjects, you can explore more specific colors and textures.

 

Boards

Recommended for all students

 

In the classroom, we’ll work on studio easels, so you’ll need to bring a board to securely attach your paper while you work. This can be either a sturdy wooden board or a foam board.

• Wooden boards are heavier but very durable.

• Foam boards are lighter and easier to carry but less durable over time.

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Choose a board size that fits both small and larger works, depending on the paper sizes you use. A size around 18×24” to 24×30” is versatile for most projects.

 

Erasers

Recommended for all students

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• Soft white eraser (also called vinyl or plastic eraser) — This is the main eraser I recommend for pastel work. It gently lifts pastel without damaging the paper and works well for most corrections. I prefer white ones for their clean performance.

• Optional erasers:

  • Kneaded eraser — Useful for soft adjustments and subtle lightening; you can mold it to different shapes for delicate lifting.

  • Retractable (mechanical) eraser — Good for detailed, precise erasing in small areas or for refining edges.

 

Glassine Paper

Optional but very useful (use at least some wax paper or similar)

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Glassine is a smooth, semi-transparent paper used to protect your pastel artwork from smudging. You can buy it in rolls or sheets—choose the size based on your artwork dimensions.

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Cheaper alternatives like wax paper can be used but may not be as effective or archival.

 

Paper Towels and Rags

Optional but very useful

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Use soft, lint-free paper towels or rags to clean your hands or gloves during blending and to clean pastels from your workspace.

 

PanPastel Sofft Knives and Covers

Optional — for blending if you don't want to use your fingers.

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When blending pastels, you can use your fingers, but these tools, called “Sofft Knives”, offer an alternative that works very well—especially for blending initial layers or when you want greater control. 

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You can see me using this tool in the following video: "Pennsylvania Farm" Pastel demo

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Fixative

Optional— not needed for most works.

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Sometimes I use pastel fixative to fix intermediate layers if the paper becomes clogged with pastels. This is not needed when using a light touch and only a few layers with hard pastels or pencils. I do not use fixative as a final layer because it changes the colors.

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From my experience, Latour Pastel Fixative from Sennelier works very well. Use it in a ventilated area and avoid inhaling the vapors (follow all instructions). Do not use fixative inside the classroom.

 

Materials for Washes

Optional— just if you want to explore this underpainting technique

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Pastels can be diluted with alcohol, which is a common way to create an underpainting. If you want to try this technique, I recommend using 70% rubbing alcohol and some soft brushes. 

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You can see me using this technique in the following video: Learn Pastel Painting Techniques with Alcohol Wash | Echoes of Ravello

 

Sharpening Tools for Pastel Pencils

Optional — only needed if you use pastel pencils

 

I sharpen my pencils using a utility knife and then refine the point with a sandpaper block. Regular pencil sharpeners usually don’t work well for pastel pencils.

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Alternatively, you can buy a brass sharpener with replaceable blades from Dakota Pastels. They recommend replacing blades often for the best results.

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Other Considerations

 

Care and Handling Tips

• Protect your pastels: Most pastel sticks are fragile and can break easily. Store them in a sturdy box or case to avoid damage during transport or storage. You can also use rubber bands or clips to keep cardboard boxes securely closed and prevent accidental openings.

• Work clean: If you blend with your fingers, wear nitrile gloves or similar to protect your hands. Avoid blowing on your artwork to remove pastel buildup—instead, gently shake or tap the paper.

 

Budget Considerations

Good art materials are expensive, but they’re worth the investment. I don’t recommend student-grade materials, even for beginners, because they can slow your progress and make learning more frustrating. Likewise, starting with a very small set of 10–20 hard pastels will make your first steps unnecessarily difficult. I recommend a set of around 70 or more. These will last a long time, and you’ll likely only need to replace a few frequently used colors after many months of regular work.

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For experienced students looking to explore new materials, sampler sets are an excellent way to try different pastels and papers without a large upfront cost. For example, Dakota Pastels offers sampler sets that include a variety of brands and surfaces, allowing you to discover your preferences before committing to full sets or large quantities.

 

Books

​You don’t need to buy any books for this class, but I wanted to share my thoughts on a few I’ve read in case you’re interested in exploring pastels further on your own.

• On Location: Plein Air Painting in Pastel — I like the colorful approach of this artist.

• The Pastel Book by Bill Creevy — Packed with information about materials and techniques.

• Painting the Landscape in Pastel by Albert Handell and Anita Louise West — I appreciate the simplicity in their compositions and textures.

• Painting Brilliant Skies & Water in Pastel by Liz Haywood-Sullivan — Effective design and use of color in her works.