9 Best Paper For Pastels in 2026

A 264 lb / 430 gsm weight makes this paper exceptionally durable, holding up to layered pastel strokes and wet techniques like watered pastel or gesso mixes. The velvet surface is the key feature here: it allows smooth application, unlimited layering, and eliminates the need for fixative, so your finished piece stays intact. This paper suits artists who want a professional-grade surface that can handle heavy, experimental work while keeping colors vibrant and well-adhered.

You get 12 sheets per pad, and the grey tones limit color options for those who prefer a wider variety of backgrounds. The Somime Sanded Pastel Paper Pad offers 12 mixed colors, but the Canson velvet surface is designed for smooth layering without fixative, so you trade quantity and color range for a specialized finish. Artists who want an archival surface and don’t mind the limited quantity will find this suitable.

The Somime pastel paper pad uses 600gsm weight paper, which is very thick and resists buckling even with wet underpainting. The sanded surface grips pastel layers well, allowing you to blend and layer without colors turning into mud too easily. This combination of heavy weight and abrasive tooth makes it a strong choice for artists who work with multiple layers or wet techniques and want a stable, textured surface.

The trade-off is that you get only 12 sheets in the pad, and the 9×12 inch format may feel restrictive if you prefer larger compositions. For comparison, the Canson Mi-Teintes Velvet pad offers a slightly lighter 430gsm weight but comes in a larger 9.4×12.6 inch size, which some artists might prefer for bigger studies.

A gesso and clay coated hardboard panel with a granular marble dust finish holds more layers than pastel paper, so you can build up your work without the surface losing its tooth. It works with wet or dry pastel techniques as well as acrylics, which gives you flexibility if you like to combine media. The pH neutral, non-yellowing coating helps keep colors from shifting over time, a useful feature for pieces you plan to sell or display.

These Ampersand Pastelbord panels come in a small 5×7 inch size and only four per pack, so they are better suited for studies or small finished works rather than large-scale pieces. Compared to the Canson Mi-Teintes Velvet Pastel Paper Pad, which offers larger sheets in a pad format, the Pastelbord gives you a rigid, durable hardboard surface that is much more durable than sanded pastel paper. If you want a sturdy support that can handle layering and mixed techniques, this is a good option.

With 24 sheets of acid-free, archival-quality paper, this pad is built for work that needs to last. The grained surface grips pastel pigment firmly, while the smooth reverse side offers a different feel for sketching or fine detail. It suits artists who value longevity over layer thickness, especially for finished pieces you intend to keep or sell.

Weight is the main consideration here. At 160gsm, this pad is lighter than many pastel papers, such as the Canson Mi-Teintes Velvet pad at 430gsm or the Somime sanded paper at 600gsm. That lightness makes the pad easy to carry in a bag or tote, and the 0.9-pound weight keeps it steady on a slanted studio board. For moderate pastel work or blended techniques, the paper holds pigment well thanks to its grainy, rough surface on one side. If you build thick, textured layers that require a stiffer support, a heavier paper will serve you better.

A 200 lb. card base means this pad won’t warp or buckle under heavy pastel work, giving you a stable surface that holds multiple layers without curling at the edges. The finely ground mixture of cork and vegetable flakes is applied to the surface, creating a toothy grip that catches pastel particles. This paper is designed for dry drawing techniques, as stated by the manufacturer.

The Sennelier La Carte pad uses a finely ground mixture of cork and vegetable flakes on a 200 lb card, which gives pastel work a distinctive texture that holds pigment well. But that surface is designed strictly for dry media, so if you ever want to combine pastels with wet washes or watercolor underpaintings, you will need a different paper like the Ampersand Pastelbord, which handles both wet and dry applications. Compared to the Canson Mi-Teintes Velvet pad, which comes in grey tones, the Sennelier pad offers a single surface tone, so you will need to choose your own colored ground or work on the natural tone. It is a premium choice for artists who value texture and archival quality over convenience.

The 40% cotton content gives this paper a sturdy feel that resists aging, and it’s acid-free and pH neutral for long-term stability. That means your artwork won’t yellow or become brittle over time, which is a real plus for archival-minded artists. The six included colors let you start working on a toned surface without having to prepare it yourself, so you can jump straight into building your composition.

This paper is designed for pastel, pencil, gouache, arts chalk, and acrylic techniques, but it doesn’t have a sanded surface like some specialty pastel papers. If you’re used to the heavy tooth of a sanded pad such as the Somime 600gsm paper, the Fabriano will have a different feel and may not hold as many layers before the surface fills. It’s best suited for moderate layering and dry media work, not for heavy impasto or wet techniques that require a more aggressive texture.

This pad is ideal for artists who want a cotton-blend paper in multiple colors for soft pastel and mixed dry media. It’s not designed for heavy layering or wet techniques that would benefit from a sanded surface, so if you need extreme tooth for thick applications, consider a sanded alternative.

The embedded oil-resistant tracing paper is the standout feature here: it structurally blocks oil and water penetration, preventing color bleeding or fading when stacking multiple artworks. This 140lb/300gsm pad is a practical choice for artists who work in layers or store work in the pad over time, especially with oil pastels where grease migration is a common headache. The fine, fabric-like texture gives pastels enough grip to stay put while still letting colors glide smoothly, and the acid-free paper resists aging and yellowing, keeping works looking new for years.

At 2.2 pounds for 30 sheets, this pad is heavier than the Winsor & Newton Professional Pastel Paper Pad (0.9 lb for 24 sheets), so it’s less convenient for carrying in a backpack for outdoor sketching. The fine texture won’t appeal to artists who want the strong grip of a sanded surface like the Somime Sanded Pastel Paper Pad. But if you need oil pastel work that stays clean, layered, and archival with no bleed-through, the MEEDEN pad offers a solution that other papers here don’t match.

Holding up to nine layers of pastel means you can build rich color without the paper losing its grip. The heavyweight substrate board resists warping when you use wet underpainting or alcohol-based mediums, so the pad stays flat through multiple techniques. This pad works with stick pastels, soft pastels, pastel pencils, acrylic oil pastels, and more, making it a versatile surface for artists who switch between dry and wet media. The three-color sets, black, blue, brown or red, grey, warm brown, offer variety within each pad, and the thick backing board can also serve as a drawing board.

Sheet count is the trade-off here. Twelve pages go fast if you layer heavily or make multiple studies, and the glue-bound binding means you cannot remove a sheet without tearing the edge. For comparison, the Winsor & Newton Professional Pastel Paper Pad offers 24 sheets at a lighter 160gsm weight, which some artists may prefer for a different feel or more pages. If you want a rigid surface that handles wet techniques and holds many layers, the MAIMOUFIN pad delivers that. If you need more sheets per pad, the Winsor & Newton gives you double the pages.

A 500-grit surface on a rigid substrate means this board can handle many layers of pastel and wet underpainting without warping. The high-weight substrate resists curling from acrylic, alcohol, or oil, so you can build rich textures without worrying about the surface lifting. It’s a stable, archival support for mixed-media pastel work, especially when you need to combine wet and dry layers in one piece.

Five sheets is a small pack, so you’ll burn through them fast if you’re a frequent sketcher or working on a series. The heavyweight substrate prevents warping in wet conditions, which makes it a good pick when you need a tough surface for wet media like acrylic or alcohol. The brown color suits earth-tone subjects well, but you only get one background shade.