Description

Sheets:

• Available sizes: 50 x 70cm  & 70 x 100cm.
• Available colours: Anthracite, Brown, Wine, Buttercup, Dark Blue, Dark Green, Dark Grey, Light Blue, Light Green, Light Grey, Maize, Sand, Sienna & White.

Mountboards:

• Available sizes: 50 x 70cm  & 70 x 100cm.
• Available colours: Anthracite, Brown, Wine, Buttercup, Dark Blue, Dark Grey, Light Blue, Light Grey, Maize, Sand, Sienna, White.
• 1800 Microns.

Pads:

• Available sizes: 18 x 24cm, 24 x 30cm & 30 x 40cm.
• 12 Sheets per pad.
• Available in Label No. 1, 2, 3, 4, 5, 6 & 7.
• Each pad has 4 shades with crystal dividers.

Available colours:

Label No.1:  Maize, Buttercup, Light Grey, Dark Grey

Orange Label No.2: White, Sienna, Brown, Anthracite

White Label No.3: White.

Blue Label No.4: Dark Blue, Light Blue, Wine, Sand.

Green Label No.5: Dark Green, Light Green, Dark Blue, White.

Anthracite Label No.6: Anthracite.

Label No.7: Beige, Sand, Sanguine, Dark Grey.

Rolls:

• Available size: 1.4 x 5m.
• Available colours: White & Light Grey.
• Paper weight: 270gsm.

Sampler:

• Available size: A5 (21 x 14,8cm)
• 10 Sheets per sampler pack.
• Available colours: Light Grey, Sienna, Brown, White, Anthracite, Maize, Wine, Dark Blue, Sand and Dark Grey.
• The Pastelmat Test Pack is the ideal way to try out Pastelmat paper – find out which colours work for you and if you like the surface before you commit to a full-size pad.

Clairefontaine developed Pastelmat to meet the specific expectations of the most demanding pastel artists.

It is a premium card surface with a unique velvety texture made from a fine coating of cellulose fibres, which can grab and hold multiple layers of even the softest pastels. Pastelmat’s single and original surface is a true innovation that combines the advantages of two traditional papers. The fine particles are sufficiently well-fixed for a smooth surface and comfort of use, and the smoothness of the cork grain in the adhesive ensures longevity.

Pastelmat brings new opportunities for pastel artists, offering a coarser surface than velour but a softer surface than sandpaper. It has the bonus of being gentle on both fingers and blending tools. The character “fixing” of this surface is so extraordinary that the positioning of multiple layers of pastels, and the realization of flat tints, precise details, or delicate and transparent veils are easily achieved.

Pastelmat significantly reduces the need for fixative so that colours remain vibrant. It enables you to apply multiple layers without a saturation effect. Even with blending little pastel is lost because it sits easily on the textured surface of the paper. To remove marks one can lift some pigment with a kneadable putty, but it is not advisable to use a normal eraser as it only forces the pigment into the pastelmat grain leaving it to smear. Clean paper stumps work beautifully to blend, smear or soften tones.

The rigidity, weight, and non-acidity, as well as the paper’s light resistance, guarantee the conservation of your artwork. However, it is recommended that a sheet of acid-free translucent paper be placed over finished artworks created on Pastelmat.

Although it was designed for pastellists, Pastelmat is suitable for all dry media, from pastel sticks, PanPastel and pencils to charcoal. It is also water-resistant which means that it can be used with wet media such as acrylics or watercolour washes and mixed media techniques. Drying can take long and transparent colours may fade as the surface dries, so for best results use gouache or coloured inks rather than transparent watercolours. Rub out or wet the paper, the Pastelmat keeps its original properties.

https://artsavingsclub.co.za/popular-pastelmat-paper-and-van-gogh-soft-pastels-tested/