What Actually Works, Based on Papers You Probably Already Have at Home

Introduction

1 - The Quick Answer

2 - Why Texture (Tooth) Matters for Pastels

3 - The Five Papers I Tested

4 - Canson Mi-Teintes: The Best of the Group

5 - Canson Montval Watercolor Paper, 300 gsm

6 - Canson Mixed Media Paper, 300 gsm: My Favorite

7 - Canson Drawing Paper, 200 gsm

8 - Bristol Paper, 180 gsm: The One to Skip

9 - Summary: Which Paper for Which Purpose

10 - Using Pastels on Coloring Pages

➛ EXTRA: For your reference: Texture Paper

Final Thoughts

A Beginner's Guide to Choosing the Right Pastel for Your Art

Three families of pastel, side by side: soft, oil and hard.

Introduction

If you have started looking into pastels, you have probably run into three names that sound almost interchangeable: soft pastels, oil pastels, and hard pastels. They share a family name, but they behave in very different ways, and buying the wrong one for what you have in mind is a common first mistake.

This guide compares the three side by side, so you can decide which one fits the way you like to work. If you are still wondering what pastels are in the first place, start with Pastels for Beginners: Unlocking the World of Pastels, which covers the basics. Here, the goal is narrower and more practical: to help you choose.

(A quick note: this comparison covers the three stick forms of pastel. Pastel pencils are a fourth option, better suited to fine detail work, and I will cover them in a separate article.)

1 - The Quick Answer

If you only have a minute, here is the short version:

Soft pastels are the choice for blending, smooth gradients, and covering areas with rich, velvety color. They are the most popular type for painterly work.

Oil pastels give you intense, creamy color and a buttery feel. They never fully dry, resist smudging once down, and are great for bold, textured marks, though they are harder to blend into delicate transitions.

Hard pastels are firmer and more controlled. They hold a sharp edge, making them ideal for details, outlines, and early layers, and they often work as a companion to soft pastels rather than on their own.

The rest of this article explains why, and helps you match the right pastel to what you actually want to make.

The same blue, three binders: notice how differently soft, oil and hard pastels lay down.

2 - What Makes Them Different

Every pastel is made of the same two basic things: pigment and a binder that holds it together in stick form. What separates the three types is the kind of binder and how much of it there is.

Soft and hard pastels use a dry, gum-based binder. The difference between them is the ratio: soft pastels carry more pigment and less binder, which makes them crumbly, powdery, and rich in color. Hard pastels carry more binder, which makes them firmer, cleaner to handle, and better at holding a point.

Oil pastels are the outsider of the group. Instead of a dry binder, they use a non-drying oil and wax base. That single difference changes everything about how they feel and behave: creamy instead of powdery, resistant to blending instead of effortless, and permanent on the paper instead of dusty.

Understanding this one distinction, dry binder versus oil binder, explains almost every practical difference you will notice when you pick each one up.

3 - Soft Pastels

Soft pastels at their best: smooth, dreamy blending on flower petals.

Soft pastels are what most people picture when they think of pastel art. They are packed with pigment, which gives them a bright, saturated color that goes down with very little pressure.

Their biggest strength is blending. A soft pastel spreads and merges so easily that you can build smooth gradients and dreamy transitions with almost no effort, which is why they are the favorite for skies, flowers, and soft atmospheric work. They also layer beautifully, letting you build depth one pass at a time.

The trade-off is mess and fragility. Soft pastels are dusty, they crumble, and finished work needs a fixative or careful storage to keep it from smudging. For anyone who loves color and softness, though, that is a small price to pay.

To get the most out of blending and layering with soft pastels, How to Shade and Highlight in Pastels walks through the techniques in detail.

4 - Oil Pastels

Oil pastels bring bold color and visible texture, as in this little umbrella.

Oil pastels feel completely different in the hand: smooth, creamy, almost like a soft crayon. Because they are oil-based, they lay down thick, glossy color that stays vivid and does not turn to dust.

Their strength is intensity and texture. Oil pastels are wonderful for bold, expressive work, thick painterly strokes, and impasto effects where you want the color to sit up off the page. They also do not need a fixative, and once the color is down it resists smudging, which makes them forgiving to store.

The trade-off is control over subtlety. Oil pastels do not blend into delicate, seamless gradients the way soft pastels do. You can blend them with a tool or a little solvent (some artists use a fingertip, though I avoid it, since skin oils can leave marks on the work), but building soft, misty transitions takes more effort. They are the type to reach for when you want punch and presence rather than softness.

5 - Hard Pastels

Hard pastels give control: fine lines and crisp detail, like the veins on these leaves.

Hard pastels contain more binder, which makes them firmer and far less crumbly than soft pastels. That firmness is the whole point: it gives you control.

Because they hold a sharp edge and can be sharpened to a point, hard pastels excel at fine details, crisp outlines, and the early structural layers of a piece. 

Many artists use them at the start of a painting to sketch and define, then switch to soft pastels for rich color on top. They are cleaner to handle and produce less dust, which also makes them a comfortable entry point.

The trade-off is color and blending. Hard pastels are less vivid than soft ones and do not melt into smooth gradients as easily. They shine as a supporting player: the tool for structure and detail rather than for broad, velvety color.

6 - Side-by-Side Comparison

The same blue-to-yellow blend with each type: soft blends most smoothly, oil sits denser, hard stays more granular.

7 - Which Should You Choose?

There is no single best pastel, only the best one for what you want to do. Match your goal to the type:

If you want to start simple and blend soft color, go with soft pastels. They are the most versatile and the most satisfying for smooth, painterly work.

If you love bold, vibrant color and texture, oil pastels will give you that creamy intensity and expressive feel, with less mess to manage.

If you enjoy detail, outlines, and control, hard pastels are your friend, especially alongside soft pastels for the finishing color.

If you are coloring printed pages, keep reading: the next section covers exactly which type works best and why.

Many artists end up owning more than one type, because they do different jobs. A common beginner-friendly combination is a set of soft pastels for color plus a few hard pastels for detail. 

Remember: You don't need a huge collection to begin. A small set of one type is more than enough to start learning how it behaves.

8 - Using Pastels on Coloring Pages

For coloring pages specifically, soft pastels are usually the most rewarding choice. Their easy blending is perfect for soft backgrounds and gentle shading on petals, and they cover the open areas of a floral design quickly and beautifully. 

Hard pastels come in handy for tightening edges and adding definition where the printed lines need a little reinforcement. Oil pastels can work too, but their thickness suits bolder, more graphic pages more than delicate florals.

If you want to see this in action, Using Pastels to Add Texture to Your Coloring Pages walks through the techniques step by step.

And if you want ready-made designs to practice on, the Original Floral Designs Coloring Book offers 72 hand-drawn floral pages with a variety of shapes and spacing, ideal for trying soft pastel backgrounds and petal shading.

Final Thoughts

Once you know how the three types behave, choosing between them stops being confusing. Soft pastels give you color and blending, oil pastels give you intensity and texture, and hard pastels give you control and detail. None is better than the others; each is better at something.

The best way to learn the difference is to feel it in your own hands, so if you can, try more than one and notice how differently they move across the paper. And when you are ready to add fine, pencil-like detail to your pastel work, keep an eye out for my upcoming guide on pastel pencils, the fourth member of the family.

Which type of pastel do you reach for most? Share your experience in the comments!

Depth and Atmosphere Before the First Flower Is Painted

Introduction

The background of a floral composition is rarely the element that receives the most attention, but it is frequently the element that determines whether the finished piece feels alive or flat. A background that is simply white paper left unpainted places the flowers in a void. 

A background that is a uniform flat wash places them on a colored surface. A background with gradients, temperature variation, and soft atmospheric depth places them in a space, and that distinction changes the entire reading of the composition.

Watercolor and dry pastel are the two materials in this practice best suited to creating this kind of atmospheric background. They work in a complementary sequence: watercolor establishes the structure, the color relationships, and the general tonal direction of the background. 

Pastel softens, deepens, and refines, adding the kind of diffused atmospheric quality that additional water-based applications cannot produce as reliably without risking the surface integrity of what the watercolor has already built.

This guide covers how each material contributes to an atmospheric background, how to sequence them for the best result, how to use color temperature and value to direct light within the background, and how to integrate the background with the floral elements that will be placed within it.

For the technique of applying dry pastel over watercolor in general, this How to Layer Dry Pastel Over Watercolor guide covers the full application process. And for the foundational logic of how these materials work within a mixed media practice, this Mixed Media Painting: What It Is and Where to Start guide covers the sequence and role of each complement material.

1. What Makes a Background Atmospheric

The difference between a background that reads as atmospheric and one that reads as simply colored is a matter of three qualities working together.

The first is temperature variation. A background that moves from warm to cool across its surface creates the sense that light is coming from a specific direction, with warmer tones in the lit zone and cooler tones in the shadow zone. This temperature shift gives the background spatial logic rather than flat uniformity.

The second is value variation. A background with genuine gradation from lighter to darker zones creates depth. The eye reads value transitions as spatial information, interpreting lighter areas as closer to a light source and darker areas as receding into shadow or distance.

The third is transition quality. Even well-considered temperature and value relationships can read as mechanical if the transitions between zones are abrupt. 

Soft, continuous transitions, the kind that have no visible edge between lighter and darker, warmer and cooler, are what create the atmospheric quality that makes a background feel like air rather than painted surface.

Watercolor handles the first two qualities efficiently. Pastel handles the third, and also supplements the first two where the watercolor alone did not fully achieve the intended depth or warmth.

2. Watercolor as the Background Foundation

2.1 Laying the Color Gradient

A watercolor background for a floral composition begins with a wet-on-wet wash that covers the entire background area. The composition of this wash determines the temperature and value direction of the background before anything else is decided.

The most reliable approach is to prepare two or three color mixes before wetting the paper: one for the lightest, warmest zone of the background, one for the darkest or coolest zone, and optionally one for the transitional area between them. 

Having these mixes ready allows the full wet-on-wet application to happen in a single continuous working session without pausing to mix colors on a still-wet surface.

Apply the warmest or lightest mix first in the zone where you want the light to appear strongest. While the paper is still wet and the surface sheen is even, introduce the cooler or darker mix in the opposing zone, allowing it to flow toward the wet area already on the paper. 

Tilt the board slightly to encourage natural flow in the intended direction. Allow the colors to blend where they meet rather than physically mixing them with the brush.

2.2 What Watercolor Establishes

After the wet-on-wet wash dries, the background carries a color structure: a general temperature direction, a basic value distribution, and the first reading of atmospheric depth. 

At this stage the background may look promising but slightly rough, with transitions that are less smooth than intended, edges that dried harder than expected, or zones that lost more color than anticipated during drying.

All of these conditions are normal and most of them are addressable with pastel. The watercolor wash does not need to be perfect at this stage. It needs to be directionally correct: warm where the light should be, cool where the shadow should be, lighter in the foreground zone if the composition has spatial depth, darker in the zones that should recede.

2.3 What Watercolor Leaves for Pastel

The specific conditions that call for pastel over the dried watercolor background are predictable: transitions that dried harder than intended, zones that dried lighter or less saturated than needed, areas where atmospheric softness is the goal and any additional wet application would risk disrupting the surface. 

Pastel addresses each of these conditions without introducing moisture, which means it can be applied with confidence over a dried watercolor background that would not reliably accept another wet layer.

For more on the specific wet-on-wet wash techniques used in background painting, this Watercolor Washes Explained guide covers flat, graded and variegated washes in detail. 

And for the sky-specific techniques that produce the same atmospheric quality in landscape backgrounds, this How to Paint Watercolor Skies guide covers soft gradients and atmospheric transitions across five sky types.

3. Dry Pastel as the Atmospheric Layer

3.1 What Pastel Adds to a Watercolor Background

Pastel applied over a dried watercolor background adds three things that further wet applications struggle to add as reliably.

The first is transition softening. A pastel stick drawn lightly across a dried watercolor transition and then blended with a cotton swab or blending stump produces a softer, more continuous gradient than the watercolor achieved. 

The dry pigment deposits gradually and can be built up or reduced through blending without the hard edges that form when wet paint dries.

The second is tonal deepening without moisture risk. When a shadow zone or a color area dried lighter than intended, pastel applied and blended over that zone intensifies the depth without introducing any moisture to the surface. 

This is the same tonal reinforcement function that pastel serves in other contexts, applied here to the specific situation of a background that needs more depth than the watercolor alone produced.

The third is the atmospheric diffusion that makes a background feel like space rather than surface. A very light application of white or near-white pastel blended gently across the lightest zone of the background adds a soft, glowing quality that watercolor cannot produce in the same way. 

The pastel particles sit on the surface texture and scatter light optically, creating the impression of atmospheric haze or the diffused glow of light filtered through air.

3.2 Application Over a Dry Watercolor Background

The watercolor background must be completely dry before any pastel is applied. The dryness test is the same as always: touch rather than appearance. Paper that feels cool to the touch still contains moisture. Room-temperature paper has dried completely.

Apply the pastel stick with a light touch, depositing a modest amount of pigment rather than pressing hard to achieve full coverage in a single pass. 

The watercolor texture on the paper surface provides grip that helps the pastel particles adhere, but the paper has already absorbed significant material through the watercolor layers and has less capacity to hold pastel than it would in its untouched state.

Blend immediately after each application using a cotton swab, a paper blending stump, or the tip of a clean finger, working from the center of the application outward toward the edges. 

For large areas, a wider blending tool such as a soft cloth or a cosmetic sponge covers more surface with each pass and produces more even results than a cotton swab moved repeatedly across the same area.

If you are new to pastels as a material, the Pastels for Beginners guide covers types, supplies and basic handling.

3.3 Directing Light with Pastel

One of the most effective uses of pastel in a background context is creating or intensifying a focal light zone: a specific area of the background that reads as brighter than its surroundings and appears to be the source from which the light in the composition originates.

To create this effect, select a pale pastel in the warmest tone appropriate to the background palette. Apply a small amount directly in the center of the intended light zone. 

Blend outward from this point with gradual, circular strokes, working the pastel outward so that it diminishes in intensity as it moves away from the center. The transition from the concentrated pastel application at the center to the darker watercolor background surrounding it should be continuous, with no visible edge.

This radial blending technique can produce a glow of significant visual power even with a very small amount of pastel. The key is working the blend far enough out from the center that the transition completes before it reaches a point where the background reads as uniformly dark again. A glow that is blended only partway reads as a soft-edged shape rather than a genuine light source.

4. Color Palettes for Atmospheric Backgrounds

The color palette of the background determines the emotional character of the composition before any floral element is introduced. Choosing the background palette deliberately, rather than defaulting to a neutral or a color that simply does not compete with the flowers, is one of the most effective decisions available at the planning stage.

A warm background palette, moving from pale yellow or peach through soft rose to a slightly deeper warm neutral, creates a sense of vitality and warmth. Flowers placed against this kind of background appear to be lit by warm light and read as vivid and energetic. This palette suits compositions intended to feel joyful, abundant, or sunlit.

A cool background palette, moving from pale blue-grey or blue-violet through deeper cool tones toward a dark blue or indigo at the edges, creates a sense of calm, depth, and sometimes mystery. 

Flowers placed against a cool dark background appear to glow against the shadow, particularly if they are in warm or light tones. This palette suits compositions intended to feel serene, intimate, or dramatic.

A neutral background with a warm or cool lean, built from muted earth tones, ochres, and soft greys, creates a sense of natural, organic presence without strong emotional directional. Flowers appear grounded and present in this kind of background. 

This palette suits botanical-style compositions and work that prioritizes the flowers themselves without the emotional temperature that a strongly warm or cool background introduces.

In each case, the pastel layer that follows the watercolor wash can shift the temperature and atmosphere of the background further in any direction. Warm pastel over a slightly cool base warms the background. Cool or pale pastel over a warm base creates the glowing atmospheric quality where warm and cool tones meet.

5. Building the Background Before or After the Florals

5.1 Background First

Painting the background before any floral elements are established is the approach that allows the most freedom in both stages. The background can be worked with full attention to gradients, temperature, and atmospheric quality without the constraint of working around existing painted areas. 

The floral elements, whether painted directly on the paper or established on a coloring page, are then placed into a background that already has its full atmospheric character.

The practical requirement for this approach is a clear idea of where the floral elements will be positioned before the background is painted, so that the light direction and value distribution of the background support rather than conflict with the flowers. 

A background where the lightest area falls directly behind the lightest flower, for example, reduces the visual separation between flower and background and makes the composition harder to read. 

Planning the light zone of the background to fall adjacent to the darkest areas of the floral arrangement, and the darker background zones to fall behind the lightest flowers, creates the contrast that makes each element read clearly.

5.2 Background Around Existing Elements

When the floral elements have already been established and the background is being added around them, the technical challenges increase but the composition has the advantage of being able to respond to what the flowers actually look like rather than what was planned.

Masking tape applied carefully along the edges of painted floral areas protects them from background washes. Liquid masking fluid can protect smaller or more complex shapes. 

For backgrounds applied with pastel rather than watercolor, the precision of the application tool, a cotton swab rather than a blending stump for areas close to existing painted elements, allows more control near the boundaries.

The most important technical point when adding a background around existing painted elements is that any wet application must not touch the existing painted areas while wet. 

The boundary between background wash and painted flower, if it forms while both are wet, will produce a visible edge that is difficult to eliminate after the fact.

6. Practical Application: Building an Atmospheric Background

The following sequence applies the principles above to the specific task of creating a complete atmospheric background for a floral composition.

Before touching the paper, decide on three things: where the light zone of the background will be, what palette will define the temperature character of the background, and whether the background will be applied before or after the floral elements.

Mix the watercolor colors for the background before wetting the paper. A warm, lighter mix for the light zone. A cooler, slightly darker mix for the shadow zones. A transitional mix if the composition requires a clear intermediate zone.

Wet the background area evenly with clean water. Allow the sheen to stabilize to a uniform wet surface without puddles. Apply the light zone mix first, then introduce the darker or cooler mixes at the edges and in the shadow zones while the surface is still uniformly wet. Tilt the board to encourage natural flow. Allow to dry completely without touching.

Assess the dried background: which transitions are harder than intended, which zones lost more color than expected, where does the light need to be more concentrated or the shadow deeper. These assessments determine exactly where and how much pastel is needed.

Apply pastel in the specific areas identified, building gradually and blending outward from each application. For the light zone, concentrate the palest pastel at the focal point and blend outward until the transition into the surrounding background reads as continuous. 

For shadow zones, deepen the pastel gradually through multiple light passes rather than one heavy application. Fix the pastel once the background reads as intended.

For practicing this technique on compositions where the floral structure is already established, the Original Floral Designs Coloring Book provides 72 hand-drawn florals that allow full attention to the background development without the simultaneous pressure of establishing the floral composition.

Conclusion

A background built from watercolor and pastel in sequence produces atmospheric depth that neither material achieves alone. The watercolor establishes the color and value structure. 

The pastel softens, deepens, and creates the diffused light quality that makes a background feel like air rather than painted surface. Together they create the environment that makes floral elements appear to exist within a space rather than to rest on a piece of paper.

The investment of attention in the background stage, often treated as preliminary rather than essential, is what separates compositions where the flowers are placed on a surface from compositions where the flowers exist in a world. 

It is work that happens before the most visible elements of the piece are developed, which makes it easy to underestimate. The finished composition reveals how much of its effect the background was carrying all along.

For the dry pastel technique in full detail, including application, blending, and fixing, this How to Layer Dry Pastel Over Watercolor guide covers the complete process. 

And for the broader framework of how this technique fits within the full mixed media approach, this Mixed Media Painting: What It Is and Where to Start guide covers the sequence, the logic, and the role of each complement material.

Happy painting.