I am deeply grateful for my family, friends, admirers, and clients who continue to support me throughout this journey. Art is my passion; it is a creative expression from my soul, a way to share how I see the world, to find beauty in the ordinary, and to evoke emotion through each painting. Your encouragement, curiosity, and thoughtful suggestions keep me inspired and help carry me through the challenging artistic moments.
Wishing you and your loved ones a Happy and Blessed Thanksgiving.
I’m excited to share that I’ve joined the Board of Directors of the International Association of Pastel Societies (IAPS)!
I’m truly honored for the opportunity to help further IAPS’s mission of fostering a global community of pastel artists and advocating for this unique art form. This appointment allows me to blend my art and business experience while giving back to the community that has deeply inspired and supported my own artistic journey.
I look forward to serving fellow artists and continuing to champion the beauty and power of pastels.
Last year, I took a step into something new — teaching demos, workshops, and classes. I started small with an underpainting workshop alongside two fellow artists, then moved into teaching a class for LifeQuest of Arkansas. More recently, I was invited to give a demo followed by a mini workshop for the Ozark Pastel Society. Finally, next week I will do a demo for the Arkansas Pastel Society.
What I’ve discovered is that I absolutely love this new role. There’s a unique thrill in watching students explore, experiment, and create — seeing the sparks of discovery, the breakthroughs, and the joy on their faces when something clicks. Sharing ideas side by side, swapping stories, and learning new approaches live and up close creates an energy that just can’t be replicated through a screen. And it’s never one-sided. While students learn from me, I learn just as much from them. It’s a true win-win.
In each of my classes, I introduced techniques that many of the artists had never been exposed to – like my “rusty truck” process. They were brave in their experimentation, diving in wit curiosity and a willingness to try something news. More than once, they surprised themselves with restuls they never though possible. Of cours, there were also moments of frustration, but those frustrations created breakthroughs toward growth.
Teaching has become more than just a new experience for me; it’s a way to share the joy of art, to learn alongside others, and to celebrate the magic that happens when creativity is explored together.
One of the biggest honors came when I attended the Ozark Pastel Society non-juried art show and saw paintings by three of my workshop students on display. To witness their courage in putting their work out into the world — and knowing I had played a small part in their creative journey — was incredibly rewarding.
On Friday, July 18, the Thea Foundation Gallery in North Little Rock, AR, came alive with color, creativity, and community as the Arkansas Pastel Society (APS) and Ozark Pastel Society (OPS) celebrated the opening of their Joint Membership Show. Despite the sweltering summer heat, the evening was a resounding success, drawing in over 200 art enthusiasts, collectors, and fellow artists.
One of the highlights of the evening was the strong showing from OPS members making the three-hour journey to attend. Their presence helped foster a sense of camaraderie and collaboration between the two societies—a key goal of this joint exhibition.
Visitors to the gallery enjoyed more than just the stunning pastel artworks on display. The reception offered an interactive experience, including hands-on pastel display and a silent auction. A dynamic “dueling demos” event, featuring artists Susan Hurst, Clarence Cash, and Debbie Strobel, captivated guests as they watched the creative process unfold in real time.
Attendees also had the chance to make their voices heard by voting for their favorite piece in the show. The coveted People’s Choice Award went to Bill Kinneman for his evocative painting, Lonely Lady—a standout work that clearly resonated with many viewers.
We extend our sincere thanks to all who attended, participated, and volunteered to make this evening such a memorable one. The energy, engagement, and enthusiasm shared by everyone in attendance are a testament to the thriving pastel art community in Arkansas and beyond.
Introduction
Soft pastel artists know that paper is just as important as the pastel itself. The right surface can elevate a piece by allowing your unique style and technique to shine through. With the incredible variety of pastel papers available—featuring different textures, colors, and weights—it’s easy to become overwhelmed. That’s why I ordered the Sample Pack from Dakota Pastels: to explore new options and see how each paper worked with my mark-making style and painting approach.
What I’m Looking For
This review is entirely based on my personal preferences and how well each paper supports my artistic process. Here’s what I focused on:
This isn’t a judgment on the overall quality of each paper—some may work beautifully for other artists.
My Testing Approach
To ensure consistency in this experiment, I kept several variables the same:
I began with papers I’ve used in the past to “warm up,” then moved on to unfamiliar surfaces.
My Results (Starting from Top Right of the Sample Pack, Moving Down)
1. Pastel Premier – Italian Clay
USA | 100% cotton | Medium tooth aluminum oxide grit | 310gsm | Wet media friendly
A reliable favorite. Durable with a great tooth for layering, it handles strong mark-making and almost behaves like a sanded surface. I enjoy this paper for its durability and consistency. Be mindful: the paper color impacts the overall tone. Great for landscapes and rusty vehicles.
2. UArt – Cream, 320 Grit (Coarse)
Germany | Sanded surface | 200 grit course to 800 grit fine | Wet media friendly
My go-to paper for years. The coarse grit grabs pigment incredibly well, allowing deep layering and vibrant texture. It is best to use hard pastels like Rembrandt or NuPastel for your base layers, as soft pastels will be used up quickly. The paper can curl, but flattens easily. I’ve used this paper for landscapes and rusty vehicles.
3. UArt – Black, 400 Grit (Medium)
Same durable performance as Paper #2 but in black and slightly finer grit. The black surface intensifies color vibrancy and subtly blends tones. A noticeable shift in mood and contrast between this and the cream version. I’ve used this paper for rusty vehicles, and I can see using it for future landscapes.
4. Art Spectrum Colourfix – Cream
Australia | Acrylic-primer on watercolor paper | Medium tooth | 300gsm | Wet media friendly
It’s been years since I used this paper, and it pleasantly surprised me. Good texture, not too hard on pastels, and lots of layering potential. Available in many colors—great for creative paper integration in your design. Some of my favorite landscapes were created on this paper like Komorebi (see painting with red leafed trees below), allowing the yellow paper to show through. I have not used this paper on rusty vehicles as I don’t believe it is gritty enough.
5. LuxArchival
France | 100% cotton | Medium/coarse tooth | 300gsm | Wet media friendly
Gritty to the touch but goes on smoother than expected. This is a strong contender for future landscape and rusty vehicle work. It held pastel well and delivered clean layering. I actually have larger sheets of this paper, just haven’t gotten around to using it.
6. Canson Velvet
France | toned paper with a velvety finish | 430gsm | Wet media friendly
Though it doesn’t feel “velvety” to the touch, pastels glide smoothly over it. Rich color retention, softer final look. The pastel fills the tooth consistently, and it covers the paper well. NuPastels glide over the paper, so I needed to adjust my pressure to make the marks. Blending required a bit more pressure. The velvet left more texture than I expected. Possibly a great choice for animal portraits.
7. Sennelier La Carte Pastel Card – Mixed Media
France | coated in a fine layer of cork powder for a light grain | 410gsm | Water and solvent resistant
Rough surface with unique texture—not like sanded paper. The paper didn’t chew through the pastels, but I didn’t fill the tooth (on purpose for consistency). I may wash the paper and try mixed media.
8. Sennelier La Carte Pastel Card
France | coated in a fine layer of cork powder and vegetable flakes |medium surface | 360gsm | For dry media only
This didn’t work well for my style for landscapes—left a grainy look due to how I apply pastel. It might work for rusty vehicles.
9. Clairefontaine – Pastel Grain
France | 360gsm | Wet media friendly
Lightly textured and soft-looking, especially when blended. Nice velvety finish when blended. It may be great for delicate subjects like pet portraits.
10. Hahnemühle Velour
Germany | Synthetic fibers | 260gsm
Truly feels like velveteen rabbit fur! Very soft surface that holds lots of pastel. Produces a romantic, dreamy look—ideal for soft subjects like animal portraits.
11. Canson Mi-Teintes
France | 160gsm | Honeycomb texture one side, fine grain other | I don’t believe this paper can get wet
Not ideal for layering—pastels get muddy fast. Needed to blend more than I usually do as the pastel didn’t cover well. This paper didn’t suit my technique well.
12. Canson Mi-Teintes Touch
France | Micro-abrasive coating | Wet media friendly
Very different from the original Mi-Teintes. I found layering difficult—colors muddied instead of building cleanly. This paper didn’t suit my technique well.
13. Pastelmat
France | Unique synthetic surface | 360gsm | Wet media friendly
Varied response depending on pastel brand—some went on velvety, others gritty. Required quite a bit of blending. It holds the pastel well, but may need some technique adjustments.
14. Rives BFK
France | 100% cotton | Printmaking paper
While absorbent and soft, it didn’t support my pastel technique well. Even Terry Ludwig’s darkest shades looked faint. When I did some research, this is a printmaking paper, and it doesn’t work well with my style. Maybe a blended underpainting would solve the issue of the texture showing through.
15. Fabriano Cromia
Italy | 50% cotton and 50% alpha-cellulose | 220gsm | Light wet media
Very similar to Rives in feel and performance. It would likely benefit from underpainting to combat paper texture showing through.
Final Thoughts
Exploring this wide range of pastel papers was enlightening. Some surfaces reaffirmed my continued use of Pastel Premier, UArt, and Art Spectrum; others surprised me, and a few didn’t suit my process, but may work well for artists with different styles or subject matter. I’m excited to revisit a few LuxArchival, Sennelier LaCarte Pastel Card Mixed Media, and Sennelier LaCarte Pastel Card with a more tailored approach and see what evolves.
If you’re thinking of trying a new paper, I highly recommend getting a sample pack and putting each one to the test. You never know what might become your next favorite surface!
A big thank you to Leafy Cheung at Artmate for allowing me to test these paints! If you’re looking for shimmer and shine in your work, Mont Marte’s metallic acrylics are a great choice, with something for everyone from beginners to experienced artists.
Overall Impressions
These paints have a consistently smooth texture, regardless of thickness, and can all be thinned with water for layering. Whether you’re just starting or are an experienced painter looking to add metallics to your toolkit, Mont Marte has options worth exploring. Ultimately, your choice will depend on the coverage and finish you’re aiming for.
Discovery Range
Metallic Acrylic Colour – Signature Set
Gold & Silver Acrylic Paint Set – Signature
Metallic Acrylic Paint – Premium
Artiste Range
I use metallic acrylics primarily for underpainting rusty vintage vehicles—the shimmer peeks through and adds depth when I layer pastels on top. I’ll be using these new paints for the blue truck I’m currently working on. If you’re looking to expand your toolkit with metallics, Mont Marte’s range offers great value and versatility. Whether you’re experimenting with effects or aiming for professional finishes, these paints are a worthy addition to your studio.
As an artist, one of the most rewarding aspects of my practice is the opportunity to participate in juried shows—both online and in-person. Every year, I submit my work to a variety of competitions and exhibitions, where my art is evaluated alongside that of many talented peers. For me, simply being accepted into these shows is an honor in itself.
In some cases, these competitions feature over 100 artists and hundreds of pieces of artwork, all vying for attention. With so much talent on display, the process of being selected feels like an affirmation that my art is heading in the right direction. It reassures me that I am continuing to grow, both in my skills and in my ability to connect with viewers—whether that’s the show jurors or the audience who sees my work for the first time.
But, of course, not every submission results in an acceptance. And that’s okay. At the heart of my creative process is passion, and no rejection can ever take that away. For me, art is about self-expression, discovery, and the joy of creation. Whether or not my pieces are selected, the act of making art is always a rewarding experience in itself.
April 18 A Pinch Me Moment: Juried into IAPS 2025 Spring Web Show – 46th Open Division
I am thrilled to announce that my painting, Holmes 440 Wrecker, has been accepted into an International Association of Pastel Societies (IAPS) juried exhibition! For those unfamiliar, IAPS unites pastel societies worldwide to support and promote the fine art of pastels. Being selected for such a prestigious international show is both an honor and a significant milestone in my artistic journey.
While I did not receive an award in this particular exhibition, the acceptance itself is a testament to the quality and appeal of my work. Each acceptance into an IAPS juried exhibition earns one point toward the IAPS Master Circle designation. To achieve this honor, artists must accumulate five points, which can be earned through acceptances and awards in IAPS juried exhibitions.
Achieving Master Circle status is a significant accomplishment, and I am excited to be on the path toward this goal. While it may take time to accumulate the necessary points, each step forward is a rewarding experience that fuels my passion for pastel painting.
Thank you to IAPS for this incredible opportunity, and to all who have supported me along the way.
A Special Achievement: Honorable Mention in the Dakota Pastels First Quarter Competition
This year has been particularly exciting, as I received an Honorable Mention for my painting Holmes 440 Wrecker in the Dakota Pastels First Quarter Competition. It was a humbling experience to have my work recognized among so many other talented artists.
If you’d like to see the full show, you can explore all the incredible work on display https://www.dakotapastels.com/…/2025-First-Quarter…
Red Rock Pastel Society of Nevada – Yellow: Get Out of Dodge was juried into the show.
I will continue to update this posting as I obtain the results from future show entries.
Thank you always for your continued support.
This was my first time using oil pastels, so I approached this new medium with curiosity and a bit of caution. As a soft pastel artist, my process typically involves creating an underpainting to guide the application of pastels, establishing lights, darks, and local colors. I was intrigued by the potential to incorporate the oil pastels into my underpainting process. Here’s how it went!
First Impressions & Application:
I began with a simple landscape underpainting on UArt 500 grit sanded paper. The initial application revealed some interesting characteristics:
• The colors were vibrant and laid down smoothly, I noticed that the pastels occasionally left small chunks. This could be due to the sanded surface or my unfamiliarity with the pressure needed for even application.
• The pastels blended effectively with a brush, as recommended on the box. I also experimented by overlapping colors in the sky.
Blending Experiment – Water vs. Alcohol:
According to the product instructions, water or other oil painting mediums could be used to wash the pastel. To compare the effects, I used water on the left side and alcohol on the right:
• Water was more effective in dissolving the pastels, creating a smoother and more fluid wash.
• Alcohol resulted in a slightly more textured effect, with some areas retaining more pigment.
Testing on Different Surfaces:
To see how the pastels would respond to a smoother surface, I repeated the process on Strathmore Mixed Media 300 Series paper. This yielded different results:
• The application was smoother, and the pastels blended a bit more easily.
• Both papers worked well, but I preferred the UArt sanded paper for the style of paintings I create, as it added more texture and depth to the underpainting.
Layering with Soft Pastels:
Once the underpaintings dried, I applied soft pastels over the top. The results were promising:
• The washes dried to muted tones, providing a subtle and harmonious base for the soft pastels.
• The soft pastels adhered nicely without any interference from the oil pastel underpainting.
Final Thoughts:
The water-soluble oil pastels offered a new way to create an underpainting. I will continue exploring this technique in future soft pastel paintings. If you’re a soft pastel artist looking for a new way to approach underpaintings, these water-soluble oil pastels are worth a try.
It was an honor to be asked by Leafy Cheung of Artmate, an Art Material Manufacturer, to use and provide feedback on several brands and types of pastel. Here is a painting I created with Oufin Soft Pastels and my feedback about this set.
Oufin is a lesser-known brand to me, but I was pleasantly surprised by the quality of their 48-piece soft pastel set. Striking a balance between hard and soft pastels, these half-stick pastels offer smooth, consistent density without sharp edges from machine marks.
One feature I particularly enjoyed was the absence of wrappers, making the pastels ready for immediate use. For those who like to stay organized, the sticks are stamped with color numbers—perfect for creating a color chart.
The application was buttery and smooth across the board, though, like most sets, there were minor inconsistencies: yellow was slightly softer, and red had a bit of grit. Still, the overall quality was impressive.
With the color and value range provided, I completed a painting, needing only a few additional sticks from my sets: an extreme dark and a trio of turquoise values.
For its size, quality, and price point, the Oufin 48 Soft Pastel set is an excellent choice for beginners or artists looking for an affordable, versatile set to explore.
First, I want to thank all those who have supported my journey. This includes my husband, family, fellow artists, instructors, and others who engage with me on social media. Your encouragement, constructive critiques that help me grow, and interest in my process motivate and inspire me.
Here is a look back on 2024:
Reflecting on the past year has provided valuable insights that will guide me as I plan for 2025. The best part? I am now retired from the corporate world, allowing me more time to paint!
What are you most excited about in your plans for 2025?
Caprise Cooper Art 