Thanks, Kym, for doing this for us! This should be a very helpful, informative thread.

I suppose I should review something I don’t use as much since mine has shown up twice already — but I love this stuff. Besides, I can do it from another aspect! I like the Colourfix paper best — but I also love, love, love the primer! So I’ll review the primer!

1. Paper Used (Manufacturer): Art Spectrum Colourfix Primer on assorted papers and boards.

2. Paper Color: CLEAR!!! I have black, white and Clear, use Clear the most. Color = My Sketch and/or Underpainting!

3. Paper Compared: Wallis Pro (white), watercolor paper without, sketchbook paper without, matboard without, Hahnemuhle velour board/paper, Canson mi-Tientes without (my paper of choice for over a decade).

4. Your experience level: newbie, intermediate, experienced: Better than I was last time, not as good as I will be in my next painting. By years, very experienced. I think the first time I messed with pastels was a high school art class when I had some Nupastels that I loved and Alphacolors that were sometimes annoying.

5. Approx. how many layers do you use – can it hold? I have gotten up to a dozen or more layers on Colourfix, more than on anything else since I haven’t done anything that layered on the Wallis. It never ran out of tooth but the tooth is finer than Wallis and doesn’t rip my fingers when I smudge. I have yet to really reach its limits.

6. More or less dust than other papers? A bit less dust than regular paper, oddly enough. I hadn’t thought about it but the Colourfix tends to hold on to the pastel more than nonsanded paper — it may have to do with my strokes since I spent many years doing only one or two layers, at most three on plain paper surfaces like Mi-Tientes and had to adapt to keeping most of the color on the paper.

7. Can you do underpaintings in water, alcohol, other? Yes, yes and yes! I love the way I could underpaint with just about anything and then put the clear primer over it. I love how even the grit is beautifully clear. Anything I do for an underpainting shows and doesn’t discolor. So that’s what makes Colourfix Clear Primer such a joy to me. It also provides a barrier layer to keep graphite or charcoal sketch lines from migrating up into the pastels.

8. How do pastels of differing softness work on it? Beautifully. I like hard pastels for details and early layers, then go up softer and softest with my Senneliers. I have yet to try my new Schminke red on it but trust that’ll behave a lot like Sennelier on it. I must have a light hand since I don’t tend to fill up the gritty little spaces when I use super soft Senns.

9. Which brand of pastel works best on this paper and why? All of them. It depends really on what I want to do. For super detailed stuff I like the hard pastels more like Conte color and Nupastel. For sweeping soft blending I love the Senns though they wear down fast. Rembrandts work well on it. Every pastel I have works better on it.

10. Which brand of pastel works worst on this paper and why? Good question. I guess crummy student grade pastels would be worst because they don’t have the pigment concentration and don’t stick as well.

11. Is it paper or rigid board? What advantages or disadvantages are there? It’s paper or rigid board or anything else I want to put it on. I’ve considered using this primer on sheets of copper or metal, on glass to get a translucent stained glass effect, I feel like it liberates me to pastel on anything I want. The only catch is that once it’s done it does need to be glazed. Though I might consider some weird multimedia thing and spray enough layers of acrylic lacquer over something to be a barrier, then load on the polyurethane so that I can have pastel decoration on things like wooden furniture.

12. Do you feel the need to spray? During? only at the end? That’s one of the neat things. I routinely used fixative between layers on smooth papers but Colourfix primed surfaces don’t need it. I feel as if I could get away without any fixative but still give a light spray at the end for preservation because it may get knocked around more than I like.

13. Does it chew up your pastels or do they last? Only as much as regular paper does. This is a bonus over Wallis, which ate them like it was a hungry cat. Wallis is good for layering but it also chews the sticks and it will tear up my fingers when I smudge. “Assorted Fingers” is still one of my favorite tools.

14. What does this paper do better than other papers: It holds layers and color. It lets me underpaint and sketch without that getting up into the pastel layer. It lets me paint on anything I want to and not worry about it, though I do stick to actual acid free art surfaces and haven’t gotten into using it on brown paper bags. The surface lets me get as much detail as I ever do in pastels and I seem to have no problem getting straight lines and small details as long as I use the corner of a stick or a pastel pencil. I do ACEOs in pastel on this stuff, it’s wonderful for detail and layering.

It will also take a watercolor wash underpainting OVER it, something I discovered in my experiment with the metallic gold background mentioned in “problems with this paper.”

15. What it does worse: It will pick up whatever texture the paper has. I have used it on student grade cold press watercolor paper in several brands that each have distinctive textures. It will enhance those textures, which is “worse” if I want the fine-grain detail look but “better” if I want broken color and more texture. On hot press watercolor paper it’s as fine as the printed Colourfix but on textured papers it’ll have a combination texture.

16. Is there a specific problem with this paper? The primer will buckle papers that are too thin for it and the buckling may be permanent. I tried priming Canson Mi-Tientes with it to have a particular color not available in Colourfix paper, and the ripples are still there in it after pressing it and then using oil pastels heavily on it (something that often flattens buckled paper). It doesn’t do this on 140lb watercolor paper but I haven’t used it on 90lb watercolor sketch paper. It will buckle a little on my sketchbook pages unless I’m very careful to let it dry thoroughly before the second layer, then press the book flat, making sure to leave plenty of space around the primed area. The buckling could be annoying if I want to prime something lightweight like rice paper or whatever.

The only other problem came when I experimented with a metallic gold acrylic wash, thinking to get a sanded metallic gold surface. The clear primer deadened the “metallic” effect so it looked more like a yellow ochre wash. I finally had to put gold watercolor wash over the primer — and that worked, Daniel Smith iridescent gold watercolor did go over the primer so I have my shiny metallic gold sheet all ready to paint something on it.

17. Do you have a solution to this problem? Yep. I use heavier paper and board. It curves mat board scraps but they dry flat. I might try using an archival mounting spray to put thinner papers onto rag mat if I want to use them with the clear Colourfix primer, I’ll bet that would stop the buckling well enough.

18. Is there a specific subject matter that you like this paper for? Everything. Everything I could paint. Florals, landscapes, animals, people, anything at all. There is a lot of reason it’s my favorite surface. It’s consistent across anything smooth. I could probably prime Masonite with it and get the same results.

19. Have you been able to steam this paper successfully and how does the pastel stick to the paper afterwords? I haven’t tried steaming it but that is something I want to try sometime. I trust that it’ll survive the process, it’s an acrylic primer and if it’s bonded well enough to the surface, steam shouldn’t make it peel up unless I steamed from behind or something or the paper was wrong for it.

20. Miscellaneous experiences with this paper: The jolly joy of discovering that I could get that much tooth and still have fine control of what I’m doing was fantastic. I wound up feeling like a newbie again, having spent literal decades using Canson mi-Tientes and thinking of pastel paper as basically that tinted vellum surface stuff. The velour papers were fun but I could never get detail on them and they do have their own “soft” look that’s mostly just good on animal paintings.

I am used to doing extensive smearing and smudging and now have learned to blend more with a stick — and the clear Colourfix primer responds well to both. I don’t bleed into it with finger smudging but it will release the color if I’m stirring it up with a stick just right and mix it thoroughly or not depending on the touch. I feel as if this surface gives me the maximum control of what I’m doing with pastels, including what to let show through from under it or not.

The clear is especially liberating because I like odd papers and have been using it to recycle old watercolors into new pastel paintings.

I think it’s so funny that so many are reviewing Art Spectrum, as that is my favorite, and the first one I thought of wanting to review, but I’ll go with a different one that I have a lot of experience with….

1. Paper Used (Manufacturer): Canson Mi-Tientes
2. Paper Color: Comes in many colors, but my faves are the light gray and the slatey blue color
3. Paper Compared:
4. Your experience level: newbie, intermediate, experienced: Intermediate
5. Approx. how many layers do you use – can it hold? Hmm, maybe 4-5, depends on the sticks used.
6. More or less dust than other papers? About the same as others I’ve tried
7. Can you do underpaintings in water, alcohol, other? I have not done this, but would think it unlikely. It’s a thin sheet of paper would probably buckle and warp if liquid was put on it.
8. How do pastels of differing softness work on it? Works best with harder brands. Softer ones fill up the tooth too quickly. NuPastels work great. Pan Pastels are great for doing an underpainting on it.
9. Which brand of pastel works best on this paper and why? See question above.
10. Which brand of pastel works worst on this paper and why? As for number 8, any of the softer ones. Sennelier and Unison are the sort, for example, best saved for finishing touches on the top layer.
11. Is it paper or rigid board? What advantages or disadvantages are there? It is paper, quite thin. Drawbacks are that it is easy to tear, and not the sort of support to use a wet underpainting on. Advantages are that it is lightweight and portable, and easy to carry an entire pad if it around with you.
12. Do you feel the need to spray? During? only at the end? I never spray and have not had any issues.
13. Does it chew up your pastels or do they last? They last very well on this paper.
14. What does this paper do better than other papers: Comes in a very *wide* variety of colors. Easy to take with you anywhere.
15. What it does worse: Does not hold many layers.
16. Is there a specific problem with this paper? Pretty much answered already.
17. Do you have a solution to this problem? perhaps spraying might get you a few more layers. You can attach it to a firmer backing support to avoid the flimsy aspects.
18. Is there a specific subject matter that you like this paper for? I’ve used it for everything I’ve done – landscapes, still lifes, figure studies.
19. Have you been able to steam this paper successfully and how does the pastel stick to the paper afterwords? Never tried this.
20. Miscellaneous experiences with this paper. I only ever use the “wrong” or smoother side of the paper. The “right” side is too nubby for my tastes as I like to cover up the paper completely

Hi everyone,

1. Paper Used (Manufacturer): [COLOR=”Blue]Art Spectrum ColourFix[/COLOR]
2. Paper Color: [COLOR=”blue]any[/COLOR]
3. Paper Compared:[COLOR=”blue]n/a[/COLOR]
4. Your experience level: newbie, intermediate, experienced: [COLOR=”blue]experienced[/COLOR]
5. Approx. how many layers do you use – can it hold? [COLOR=”blue]loads (who’s counting) [/COLOR]
6. More or less dust than other papers?[COLOR=”blue] a touch more than Sennelier Lacarte as ColFix is quite ‘hard’.[/COLOR]
7. Can you do underpaintings in water, alcohol, other? [COLOR=”blue]No idea. I ‘underpaint’ in pastel [/COLOR]
8. How do pastels of differing softness work on it? [COLOR=”blue]Strange question. Pastels of different softness work differently because of their softness, not because of the paper.[/COLOR]
9. Which brand of pastel works best on this paper and why? [COLOR=”blue]Even stranger question. Pastel brands are a personal choice. They will all work fine on this paper and ‘do their own thing’.[/COLOR]
10. Which brand of pastel works worst on this paper and why? [COLOR=”blue]see above[/COLOR]
11. Is it paper or rigid board? What advantages or disadvantages are there? [COLOR=”blue]It is a coated paper. Perfect inbetween.[/COLOR]
12. Do you feel the need to spray? During? only at the end? [COLOR=”blue]Spraying or not is a personal choice, the paper will not make a difference except perhaps with velours paper. I usually do not spray.[/COLOR]
13. Does it chew up your pastels or do they last? [COLOR=”blue]why would any paper chew up my pastels? That would be bad![/COLOR]
14. What does this paper do better than other papers: [COLOR=”blue]Hold layers if that is what you want.[/COLOR]
15. What it does worse: [COLOR=”blue]It is not as soft/velvety as Sennelier La Carte[/COLOR]
16. Is there a specific problem with this paper? [COLOR=”blue]No[/COLOR]
17. Do you have a solution to this problem?
18. Is there a specific subject matter that you like this paper for?
19. Have you been able to steam this paper successfully and how does the pastel stick to the paper afterwords? [COLOR=”blue]huh??[/COLOR]
20. Miscellaneous experiences with this paper:

Very popular and very good paper.

Colour fix is a heavy weight paper, coated with a primer that makes it suitable for almost all paints and drawing media. It is a fairly rough surface but there is hardly any visible texture. Less smooth and much rougher than Sennelier La Carte and much rougher than papers such as Mi-Teintes. It holds layers of pastel very, very well. Slightly (only slightly) less suitable for blending because of its roughness so if you’re into blending use LaCarte. It is easy to brush off any mistakes.
One of my favourites.

1. Paper Used (Manufacturer):[COLOR=”blue]Canson Mi-teintes[/COLOR]
2. Paper Color: [COLOR=”Blue]any[/COLOR]
3. Paper Compared:
4. Your experience level: newbie, intermediate, experienced: [COLOR=”blue]experienced[/COLOR]
5. Approx. how many layers do you use – can it hold? [COLOR=”blue]Not very many, perhaps 1-4 layers[/COLOR]
6. More or less dust than other papers? [COLOR=”blue]not much dust[/COLOR].
7. Can you do underpaintings in water, alcohol, other?
8. How do pastels of differing softness work on it?
9. Which brand of pastel works best on this paper and why?
10. Which brand of pastel works worst on this paper and why?
11. Is it paper or rigid board? What advantages or disadvantages are there? [COLOR=”blue]This is paper.[/COLOR]
12. Do you feel the need to spray? During? only at the end?
13. Does it chew up your pastels or do they last?
14. What does this paper do better than other papers:
15. What it does worse:
16. Is there a specific problem with this paper?
17. Do you have a solution to this problem?
18. Is there a specific subject matter that you like this paper for?
19. Have you been able to steam this paper successfully and how does the pastel stick to the paper afterwords?
20. Miscellaneous experiences with this paper:

Canson mi-teintes can be used on both sides. One side has a honey-comb texture to it, that is not to everyone’s taste. The other side is fairly smooth. It is a paper with not much ‘tooth’ and so is mostly suitable (I feel) for sketches and drawings, and not for paintings that contain many layers. There is simply not enough tooth.
Nice paper, though, for drawings, conte and quick sketches.

1. Paper Used (Manufacturer): Fabriano Roma
2. Paper Color: blue-gray, tan, sage green, natural gray
3. Paper Compared: any hand-made paper wil laid surface
4. Your experience level: newbie, intermediate, experienced: experienced
5. Approx. how many layers do you use – can it hold? will take layers after blended base, toothy for paper
6. More or less dust than other papers? similar
7. Can you do underpaintings in water, alcohol, other? don’t know, don’t think so
8. How do pastels of differing softness work on it? I have used Neupastels to Schminkes
9. Which brand of pastel works best on this paper and why? Each has its own characteristic, but Unisons and Schminkes will fill the laid surface better.
10. Which brand of pastel works worst on this paper and why? See #9
11. Is it paper or rigid board? What advantages or disadvantages are there? It is paper that feels deceptively delicate, but I love its tooth and texture. I have used it mounted on museum board.
12. Do you feel the need to spray? During? only at the end? I never spray
13. Does it chew up your pastels or do they last? About average for paper
14. What does this paper do better than other papers: I love the deckled edge and like to tear it and float it when I frame it.
15. What it does worse: It takes limited blending before it begins to shed fibers.
16. Is there a specific problem with this paper? Sometimes the lines of the laid surface show through, but I actually like to see the paper.
17. Do you have a solution to this problem? Use thicker stroke of pastel.
18. Is there a specific subject matter that you like this paper for? Landscapes, alpine scenes, waterscapes
19. Have you been able to steam this paper successfully and how does the pastel stick to the paper afterwords? Not something I do
20. Miscellaneous experiences with this paper: I have used it in the studio and in plein air work (mounted on board). I fell in love with Roma the first time I used it because of its texture. It has a beautiful watermark.