The single-colour dark grey Pastelmat pad — twelve sheets of the same deep, neutral grey ground in the most widely used and versatile toned ground in the Pastelmat range. For pastel artists who have found their preferred working colour and want a consistent supply without the assorted palette pads, the No.9 is the practical professional choice.
Pastelmat is in a category of its own in the pastel paper world. The surface is not paper in the conventional sense — it is a 360gsm card base coated with a fine layer of cellulose fibres that creates a soft, velvety texture quite unlike sanded pastel papers. Where sanded papers are abrasive and grip pigment aggressively, Pastelmat is gentle on both pastels and fingers while still holding multiple layers of pigment with extraordinary tenacity. The velour texture consumes pigment 30 to 40% more slowly than standard pastel papers, which means each stick goes further and the surface accepts more layers before reaching saturation — allowing the kind of sustained reworking and blending that would destroy a conventional pastel paper surface.
The most significant practical quality is the near-elimination of fixative. Because the Pastelmat surface holds pigment so securely, fixative is rarely needed between layers — which means colours stay exactly as mixed and applied, without the darkening and flattening that fixative spray inevitably causes. The surface is also water-resistant, allowing watercolour and acrylic washes to be used as underpaintings without damaging the surface, and accepts pencil, charcoal, and PanPastel in addition to soft pastels.
The dark grey ground is the most neutral and versatile of all the Pastelmat tones. It sits in the precise mid-tone range that allows both lights and darks to be developed simultaneously from the start — the ground itself reads as the mid-tone of most compositions without any initial laying in, allowing the painter to concentrate immediately on the light and shadow relationships that define the work. It is particularly well suited to portraiture, figure work, still life, and landscape, and works naturally with the full range of pastel colours without imposing a warm or cool temperature bias.
Each sheet is protected by a crystal paper interleaf. Glued at the top edge for easy removal once complete. Acid-free, lightfast, and archival.
Paper weight: 360gsm
Sheets: 12
Size: 18 x 24cm
Colour: Dark Grey (Gris Foncé) — single colour throughout
Surface: Velour — fine cellulose fibre coating
Binding: Glued top edge with crystal paper interleaves
Made in: France by Clairefontaine
What makes Pastelmat different from sanded pastel paper?
Sanded papers use an abrasive surface that grips pigment aggressively and can be harsh on pastels and fingers. Pastelmat uses a fine velour coating of cellulose fibres that holds pigment gently but tenaciously — consuming pigment more slowly, accepting more layers, and producing softer, more buttery marks. It is also gentler on blending tools and fingers.
Why does Pastelmat reduce the need for fixative?
The velour surface holds pigment so securely between layers that fixative is rarely needed. This preserves colour vibrancy — fixative inevitably darkens and flattens pastel colours to some degree, so avoiding it keeps colours exactly as intended throughout the working process.
Can Pastelmat be used with wet media?
Yes — the card base is water-resistant, allowing watercolour and acrylic underpaintings to be applied without damaging the surface. Once dry, pastel can be applied over the wash. This is a popular technique for building tonal underpaintings before developing the full pastel work on top.
Why choose a single-colour pad over an assorted palette pad?
Single-colour pads suit artists who have established their preferred working ground and want consistency across a body of work or a series of paintings. Dark grey is the most neutral and versatile Pastelmat ground, equally useful across a wide range of subjects and particularly well suited to portraiture, figure work, and tonal painting.
