You watched someone drag a soft pastel across toned paper, and the color just... melted. Rich, velvety pigment with no water, no brushes, no drying time. It looked effortless. So you bought a set. And then reality hit: dusty fingers, colors that won't layer right, paper ripping. The gap between what you saw and what you made felt enormous.
That gap is fixable. Soft pastels are genuinely one of the most rewarding drawing media you can pick up as a beginner — but only if you understand how they work, what supplies you actually need, and which mistakes to avoid from day one.
This guide covers everything: what soft pastels are, how they compare to oil pastels (and why oil pastels might actually be better for total beginners), the essential techniques you need to learn first, and the exact supplies I recommend. You'll get:
- A clear breakdown of soft pastels vs. oil pastels vs. hard pastels
- The 5 fundamental techniques every beginner must learn
- A complete supplies checklist (paper, fixative, pastels)
- Honest product recommendations at every price point
- An FAQ section answering every common beginner question
Let's start with the basics.
⚡ Quick Answer — Soft Pastels for Beginners
Soft pastels are sticks of nearly pure pigment bound with minimal binder, producing rich, velvety color on textured paper. Beginners need textured pastel paper (minimum 98lb/160gsm), a set of 24–48 colors, and fixative spray. However, if dust sensitivity or mess is a concern, soft oil pastels offer the same blendable, creamy experience without airborne dust — making them a more practical beginner-friendly alternative.
What Are Soft Pastels, Exactly?
Soft pastels are dry drawing sticks made from pigment powder mixed with a small amount of binder (usually gum tragacanth or methylcellulose). The ratio of pigment to binder is extremely high — often 80% or more pure pigment by volume.
That's what gives soft pastels their signature quality: intense, luminous color that sits on the surface of the paper rather than soaking in.
Here's the thing most beginners don't realize:
Soft pastels are not the same as chalk. They're not crayons. And they're definitely not oil pastels. Each of those is a completely different medium with different properties, different techniques, and different supply requirements.
When you press a soft pastel to textured paper, the pigment particles catch in the paper's tooth (the microscopic ridges in the surface). You build color by layering — light strokes for transparent effects, heavier application for bold coverage. Because there's almost no binder involved, the colors stay pure and vibrant.
But that minimal binder also means soft pastels are fragile. They generate dust. They smudge easily. And they require fixative to stay put.
This is where beginners usually run into their first problems.
Soft Pastels vs. Oil Pastels vs. Hard Pastels: Which Should a Beginner Choose?
This is the most confusing decision for beginners, and most guides make it worse by treating all pastels as interchangeable.
They are not.
Let me break down the three types clearly, then give you my honest recommendation on which one to actually start with.
| Feature | Soft Pastels | Oil Pastels | Hard Pastels |
|---|---|---|---|
| Binder | Gum / methylcellulose (minimal) | Wax + non-drying oil | Gum / methylcellulose (more than soft) |
| Texture | Powdery, velvety, crumbly | Creamy, smooth, buttery | Firm, chalky, precise |
| Dust | ❌ Significant dust | ✅ Almost none | ⚠️ Moderate dust |
| Blending | Finger, blending stumps, brushes | Fingers, palette knives, solvents | Limited — better for detail lines |
| Layering | 6–8 layers on good paper | Many layers (oil base stays workable) | 2–3 layers maximum |
| Fixative needed? | Yes (essential) | No (self-adhering) | Yes |
| Cleanup | Dusty hands, dusty workspace | Oily fingers (wipes clean easily) | Moderate dust |
| Beginner difficulty | Medium — technique-dependent | Low — very forgiving | Higher — less room for error |
| Best for | Landscapes, portraits, expressive work | All subjects, beginners, mixed media | Underpaintings, fine detail, sketching |
| Price range (beginner sets) | $15–$60 | $10–$40 | $12–$35 |
My Honest Take: Oil Pastels May Be Better for Total Beginners
I know this article is about soft pastels. And if you're committed to learning soft pastels specifically, I'll cover everything you need below.
But here's what nobody tells you:
Soft oil pastels are significantly more forgiving for beginners than traditional soft (chalk) pastels.
The reasons are practical, not artistic:
- No dust. Soft pastels generate fine pigment dust that irritates lungs and coats your workspace. Oil pastels produce virtually none.
- No fixative required. Soft pastel artwork smudges unless sprayed with fixative (which can shift colors). Oil pastels self-adhere to paper.
- More blendable. Quality soft oil pastels blend with finger pressure alone — no special tools needed.
- More forgiving of mistakes. You can scrape oil pastels off and rework areas. With soft pastels, over-layering fills the paper tooth and you're stuck.
- Less supply overhead. No fixative, no blending stumps, no special ventilation. Just paper and pastels.
Want to know the best part?
The techniques transfer. If you learn layering, blending, and color theory with oil pastels, moving to soft pastels later is a natural progression — not a restart.
✖ Soft Pastel Challenges for Beginners
- Fine pigment dust requires ventilation
- Artwork smudges without fixative spray
- Over-layering fills paper tooth permanently
- Colors can shift when fixative is applied
- Need specialized supplies (stumps, fixative, textured paper)
✔ Oil Pastel Advantages for Beginners
- No airborne dust — safe to use anywhere
- Self-adhering — no fixative needed
- Mistakes can be scraped off and reworked
- Colors stay exactly as applied
- Minimal supplies — paper + pastels is enough
Essential Supplies for Soft Pastels (Complete Checklist)
Whether you go with traditional soft pastels or soft oil pastels, you'll need the right paper. That's non-negotiable. Here's your full supply checklist.
1. Pastel Paper (The Most Critical Purchase)
This is where beginners waste the most money.
Regular sketchbook paper is too smooth for pastels. The pigment has nothing to grip. It slides, smudges, and won't hold layers. Your pastels will look chalky and flat no matter how good they are.
What you need:
- Minimum weight: 98lb (160gsm) — heavier is better
- Surface texture: Visible tooth (grit). Look for "pastel paper" or "mixed media" labels
- Acid-free: Essential for longevity — non-acid-free paper yellows and degrades
- Toned options: Medium-toned paper (gray, tan, blue) is easier for beginners than white
Paul Rubens Acid-Free Pastel Paper (30 Sheets, 112lb)
- Weight: 112lb (240gsm) — won't buckle under heavy application
- Sheets: 30 per pad, A5 size (5.8" x 8.3")
- Surface: Textured tooth, grabs pigment from both soft and oil pastels
- Acid-free: Archival quality, won't yellow over time
- Versatile: Works with oil pastels, soft pastels, hard pastels, mixed media
Why I recommend it:
At 240gsm, this paper is heavier than most pastel pads at double the price. The textured surface holds pigment well without being so rough that it eats through your pastels. At $9.99 for 30 sheets, it's a no-brainer for beginners who want to practice without worrying about wasting expensive paper.
2. The Pastels Themselves
For traditional soft pastels, you want a set with at least 24 colors. Avoid bargain-bin sets where sticks feel chalky, dry, or powdery — those are usually more filler than pigment.
Key specs to check:
- Softness: Should glide smoothly, not scratch or drag
- Pigment load: Higher pigment = more vibrant color, fewer layers needed
- Lightfastness: Look for lightfastness ratings — important if you plan to display work
- Stick shape: Round sticks are standard; square sticks are better for detail edges
If you go the oil pastel route (which I strongly recommend for beginners), the same rules apply — but you want the soft formulation, not the waxy student-grade sticks.
Let me explain.
Student-grade oil pastels (the ones in the $5 box at the craft store) use more wax than oil. They're stiff, they resist blending, and they scratch the paper. Artist-grade soft oil pastels use more oil and higher pigment loads, so they feel buttery and blend effortlessly.
3. Blending Tools
For soft pastels: tortillons (paper stumps), chamois cloths, or soft brushes. Your fingers work too, but the dust is messy.
For oil pastels: your fingers are actually the best tool. Body heat softens the oil binder and creates smooth blends. Palette knives work for textured effects.
4. Fixative Spray (Soft Pastels Only)
If you choose traditional soft pastels, fixative is mandatory. Without it, your finished artwork will smudge at the slightest touch.
Two types:
- Workable fixative: Apply between layers. Lets you add more pastel on top.
- Final fixative: Apply when done. Seals the surface permanently.
Important: Fixative can darken colors slightly and reduce the velvety matte finish. Test on a practice piece first. Oil pastels don't need fixative at all — another reason they're simpler for beginners.
5. Workspace Protection
- Newspaper or a drop cloth under your work area
- Baby wipes for quick hand cleanup
- A dust mask if working with soft pastels for extended sessions
- A sealed container for storing pastels (keeps dust contained)
Ready to Start Your Pastel Journey?
Browse the full collection of Paul Rubens pastels and pastel paper — everything ships from our US warehouse.
Browse Paul Rubens Pastels5 Fundamental Soft Pastel Techniques Every Beginner Must Learn
These techniques apply to both soft pastels and oil pastels, with small differences in execution. Master these five and you can create compelling work from day one.
1Side Strokes (Broad Coverage)
Break a pastel stick in half. Lay the flat side against the paper and drag. This gives you wide, even coverage for backgrounds, skies, and base layers.
Pro tip: Light pressure for transparent glazes. Heavy pressure for solid coverage. Practice controlling the gradient between the two.
2Layering (Building Color Depth)
Apply one color, then apply a second color on top. The lower layer shows through, creating optical color mixing. This is how pastelists create luminous, complex color that flat application can never achieve.
Pro tip: Start with light colors and build toward darks. It's easier to darken than to lighten — especially with soft pastels, where dark pigment fills the tooth faster.
3Blending (Smooth Transitions)
Apply two adjacent colors, then use your finger, a blending stump, or a soft cloth to merge the edges. This creates smooth gradients — essential for skies, skin tones, and atmospheric effects.
Pro tip: With oil pastels, blending is dramatically easier because the oil binder stays soft. With soft pastels, be gentle — aggressive blending pushes pigment into the tooth and reduces your ability to add more layers.
4Scumbling (Textured Color Mixing)
Apply a lighter color loosely over a darker base, using a circular or irregular motion. The base color peeks through the gaps, creating a vibrant, textured surface. Impressionist painters used this technique constantly.
Pro tip: Use very light pressure. You want the pastel to skip across the paper's texture, not fill it completely.
5Sgraffito (Scratching Through Layers)
Apply a thick top layer, then scratch through it with a palette knife, toothpick, or the edge of a credit card to reveal the color underneath. This creates fine detail lines, textures for tree bark, hair strands, or grass.
Pro tip: This technique works better with oil pastels because the thick oil-based layer doesn't crumble when scratched. With soft pastels, you need heavy application first.
Here's where it gets interesting:
You don't need to master all five at once. Start with side strokes and blending. Those two alone will let you create complete landscapes and abstract pieces. Add layering in week two. Scumbling and sgraffito can wait until you're comfortable with the basics.
Best Soft Oil Pastels for Beginners (My Top Picks)
If you've read this far, you know my recommendation: start with soft oil pastels. You'll learn the same color theory, blending skills, and composition fundamentals — with less mess, less frustration, and faster visible progress.
Here are the sets I recommend, ranked by use case.
Paul Rubens Soft Oil Pastel Set — 48 Macaron Colors
- Colors: 48 muted pastel tones (macaron palette)
- Formula: Soft, creamy oil-based — blends with finger pressure
- Best for: Dreamy landscapes, florals, soft portraits, abstract art
- Color range: Warm neutrals, soft pinks, lavenders, muted greens, sky blues
- Beginner-friendly: Creamy texture forgives heavy-handedness
Why I recommend it:
The Macaron palette is clever for beginners. These muted, harmonious colors are nearly impossible to make look garish together. You can layer any combination and the result looks cohesive. That builds confidence fast — which is exactly what a beginner needs. The price point is also the lowest entry into quality soft oil pastels.
Paul Rubens Classic 50 Vibrant Colors Soft Oil Pastel Set
- Colors: 50 vibrant, full-spectrum colors + 6 bonus white sticks
- Formula: Soft oil pastel — creamy, high pigment concentration
- Best for: Realistic landscapes, bold still lifes, saturated color work
- Includes: Full warm and cool range, skin tones, earth tones, neutrals
- Bonus whites: 6 extra white sticks for highlights and tinting
Why I recommend it:
If you know you want vibrant, saturated colors (not the muted Macaron palette), this is the set. The 50-color range means you rarely need to mix colors from scratch, which saves beginners a lot of frustration. The 6 extra white sticks are thoughtful — white is the color you burn through fastest when learning to lighten and highlight.
Paul Rubens 12 Extra Large Oil Pastels Set A + White
- Colors: 12 vibrant colors + 2 extra-large white sticks
- Stick size: 60g each — 3–4x larger than standard pastels
- Best for: Large canvases, broad side strokes, bold expressive painting
- Formula: Same soft, creamy base as the smaller sets
- Coverage: Covers large areas quickly without multiple passes
Why I recommend it:
This isn't a typical beginner pick — but if you're drawn to large-scale, expressive work (think bold abstract landscapes on 18"x24" paper), standard-size pastels are painfully slow. These jumbo sticks let you cover ground fast. I'd suggest combining these with the 48-color Macaron set: use the large sticks for base layers and broad areas, and the smaller sticks for detail and finishing.
7 Mistakes Beginners Make with Soft Pastels (and How to Avoid Them)
I've seen these same mistakes trip up beginners over and over. Knowing them in advance will save you weeks of frustration.
Mistake #1: Using Smooth Paper
This is the most common beginner error. Smooth paper (printer paper, standard sketchbooks) doesn't have enough tooth to hold pastel pigment. The color sits on top, smears instantly, and won't accept multiple layers.
Fix: Use dedicated pastel paper, at least 98lb (160gsm). The Paul Rubens 240gsm pastel paper is specifically designed for this.
Mistake #2: Pressing Too Hard
Beginners instinctively press hard to get intense color. With soft pastels, heavy pressure fills the paper tooth in one stroke — leaving you no room to layer or blend.
Fix: Start with light, gentle strokes. Build intensity through multiple layers, not pressure.
Mistake #3: Skipping the Underpainting
Jumping straight into detail on white paper is overwhelming. You're fighting the white surface the entire time.
Fix: Start with a loose color block of your main shapes. Or use toned paper to eliminate the white entirely.
Mistake #4: Blending Everything
Over-blending turns colors muddy. Not every edge needs to be smooth. Some of the best pastel work combines sharp, unblended marks with selective smooth transitions.
Fix: Blend intentionally. Ask yourself: does this edge need to be soft or sharp? If you're not sure, leave it sharp.
Mistake #5: Not Protecting Finished Work
Soft pastel artwork smudges if you look at it wrong. Stacking unprotected pieces is a disaster waiting to happen.
Fix: Apply fixative immediately. Store pieces with glassine sheets between them. For oil pastels, this is much less of an issue — they self-adhere and resist smudging after the surface firms up.
Mistake #6: Buying Too Few Colors
A 12-color set seems economical, but it forces beginners into heavy color mixing before they understand color theory. The result is muddy, frustrating work.
Fix: Start with at least 24 colors. A 48-color set is even better — you'll mix less and learn faster.
Mistake #7: Ignoring the Dust
Soft pastel dust is real pigment. It gets on everything: your hands, clothes, table, and lungs. Working without preparation turns your workspace into a colorful mess.
Fix: Work on a drop cloth. Wash hands frequently. Use a dust mask for extended sessions. Or — switch to oil pastels and skip the dust problem entirely.
3 Beginner Projects to Try This Week
Theory is useful. Practice is what makes you better. Here are three projects calibrated for complete beginners.
Project 1: Simple Sunset (30 Minutes)
This is the perfect first pastel project. It uses only three techniques (side strokes, layering, and blending) and requires only 5–6 colors.
- Lay down a horizontal band of yellow at the horizon line using side strokes
- Add orange above and below the yellow band
- Add deep red/purple at the top and bottom edges
- Blend each color transition with your finger, working horizontally
- Add a dark silhouette (trees, buildings) along the horizon using the stick's edge
The reason this works for beginners: sunsets are inherently forgiving. Colors don't need to be precise. Blending is expected to be imperfect. And the result always looks striking.
Project 2: Single Fruit Study (45 Minutes)
Place a single apple, orange, or pear on a white surface near a window. This introduces you to light observation, form, and shadow.
- Sketch the basic shape lightly with a hard pastel or pastel pencil
- Block in the shadow side with a darker tone
- Block in the light side with a lighter tone
- Blend the transition zone between light and shadow
- Add the darkest shadow under the fruit and the brightest highlight on top
Project 3: Abstract Color Study (20 Minutes)
No subject, no rules. Pick 4–5 colors that appeal to you. Apply them in blocks, stripes, or shapes. Practice blending where they meet. The goal isn't a picture — it's getting comfortable with the medium.
This exercise trains your hand to control pressure, teaches you how colors interact, and removes the stress of "making something good."
Frequently Asked Questions About Soft Pastels for Beginners
Are soft pastels the same as chalk pastels?
Yes, "soft pastels" and "chalk pastels" refer to the same medium. The term "chalk pastels" is informal and commonly used to distinguish them from oil pastels. Professional artists and manufacturers use "soft pastels." The main ingredient is pure pigment with minimal gum binder — not chalk, despite the nickname.
Are soft pastels or oil pastels better for beginners?
Oil pastels are generally easier for complete beginners. They don't produce dust, don't need fixative, and blend more easily with finger pressure. Soft pastels produce richer, more luminous color but require more technique and cleanup. If you're completely new to art, I'd recommend starting with soft oil pastels (like the Paul Rubens 48 Macaron set) and graduating to soft pastels once you're comfortable with blending and layering.
What paper should I use for soft pastels?
Textured pastel paper, minimum 98lb (160gsm), acid-free. The texture (called "tooth") is essential — it grips the powdery pigment and allows layering. Smooth paper like printer or sketchbook paper won't work. Heavier paper (240gsm) is better because it handles more layers and won't buckle. Toned paper (gray, tan) is easier for beginners than white because you can work lights and darks simultaneously.
How many colors do I need to start?
A minimum of 24 colors; 48 is ideal. Unlike watercolors where a 12-color palette is workable, pastels can't be mixed on a palette before application. You mix directly on the paper, which makes large color counts more practical. Starting with fewer than 24 forces heavy color mixing that's difficult for beginners. A 48-color set lets you find close color matches without mixing, which builds confidence faster.
Do I need fixative for soft pastels?
Yes, fixative is essential for soft (chalk) pastels. Without it, your finished artwork will smudge from the lightest touch, a breeze, or even being stored against another surface. Use workable fixative between layers and final fixative when done. Be aware that fixative can slightly darken colors and reduce the matte finish. Oil pastels do not need fixative — they self-adhere to the paper surface.
Is pastel dust dangerous?
Pastel dust should be taken seriously, especially with extended use. The dust is finely ground pigment that can irritate your lungs and eyes. Work in a ventilated area, use a dust mask for sessions longer than 30 minutes, and avoid blowing dust off your paper (tap it off face-down instead). This is one of the main reasons I recommend soft oil pastels for beginners — they produce virtually no airborne dust.
Can I use soft pastels and oil pastels together?
You can, but with limitations. Soft pastels can go over oil pastels in small amounts (the oil provides grip), but oil pastels don't adhere well over heavy soft pastel layers. Most mixed-media artists apply soft pastels first for broad areas and oil pastels on top for bold accents. For beginners, I'd recommend mastering one medium before combining them.
📋 TL;DR — Soft Pastels for Beginners
- Soft pastels are sticks of nearly pure pigment that deliver rich, velvety color directly on textured paper — no water, no brushes, no drying time required.
- The most critical supply for pastel work is the paper: you need textured, acid-free pastel paper at least 160gsm, not regular sketchbook paper.
- Soft oil pastels are significantly more beginner-friendly than traditional chalk pastels because they produce no dust, need no fixative, and blend more easily.
- Start with a minimum of 24 colors (48 is ideal) because pastels can't be pre-mixed on a palette the way paints can — more colors means less frustration.
- The five essential techniques every beginner should learn are: side strokes, layering, blending, scumbling, and sgraffito — master the first three before worrying about the rest.
- The most common beginner mistake is using smooth paper; the second most common is pressing too hard, which fills the paper tooth and blocks further layering.
- The Paul Rubens 48-color Macaron Soft Oil Pastel Set (from $15.99) is the best entry point for beginners: the harmonious muted palette makes it nearly impossible to create clashing color combinations.
- Techniques learned with oil pastels transfer directly to soft pastels, so starting with oil pastels is a practical stepping stone, not a detour.
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