When it comes to drawing with texture and softness in mind, I’ve spent a lot of time bouncing between two tools: colored pencils and pastel pencils. In my observational drawing practice – where I work from real life or photos and focus on light, shadow, and shape – each tool brings its own strengths.
The big question I get from other artists is: which one gives you better softness and texture? So I figured it was time to unpack the topic of colored pencils vs pastel pencils and share what I've learned after using both over the years.
I studied traditional 2D character animation at CalArts, which trained me to look closely, observe with intent, and make every mark count. These days, my drawing is much looser and more expressive, and that's exactly the lens I bring to this comparison.
Key Points
- Colored pencils are great for precision and control, while pastel pencils shine when you want softness and smudgy, painterly effects.
- If you're drawing loosely and focusing on value and shape, pastel pencils might feel more natural and forgiving.
- Paper choice matters a lot, to get the most from either tool, you need the right surface texture and tooth.
Colored Pencils vs Pastel Pencils: Which Is Better for Texture?
Let’s start with texture, since that’s often what we’re chasing when we draw a craggy rock face, a soft cheek, or dramatic folds of fabric.
Colored pencils are smoother and more precise. They shine when you layer gradually, using pressure and crosshatching to build up texture. If you love detail or want a firmer tip that won’t break easily, you might already lean toward something like these best colored pencils for artists.
With colored pencils, the texture comes from layering – light applications that slowly build up rich tones and subtle variation. You can create visual texture by alternating the direction of your strokes, mixing colors, or adjusting pressure as you go.
Pastel pencils, on the other hand, are more tactile. They lay down soft, dusty pigment that grabs the tooth of the paper. You can smudge and blend easily, even with your finger. If you're trying to capture soft clouds, feathers, or worn stone, pastel pencils can get you there with less effort.
When I’m drawing loosely and blocking in big shapes of light and shadow, pastel pencils feel more in sync with that energy. They allow me to focus on masses rather than edges and capture the feeling of a subject instead of its outline.
But when I want crisp edges or to capture something more graphic (like a sign, animal markings, or insect wing), I reach for my colored pencils instead. There’s more control and subtlety in layering and shading when using a sharp point and harder core.
Layering and Texture Tips for Colored Pencils
- Use a toothy paper like this one made for colored pencils to hold more layers and keep the drawing from looking flat.
- Try burnishing as a final step to flatten the grain and deepen the colors. This can give the illusion of texture without roughness.
- Don’t forget to explore mixed media techniques. You can pair colored pencils with markers or watercolor for layered effects.
Layering and Texture Tips for Pastel Pencils
- Go for sanded or textured paper that can hold the pastel pigment without getting muddy. Regular sketch paper won’t work well here.
- Use blending stumps, paper towels, or your fingers to create soft gradients. You can also layer light over dark more easily than you can with colored pencils.
- Be gentle – these tips break easily, so sharpen with care and avoid dropping them. I usually carry a small sharpener and a brush to keep the dust off.
Which One Feels Softer?
If we’re talking tactile softness – like the feeling of blending a shadow with your finger or getting a fuzzy edge – pastel pencils win every time. They act like a hybrid between chalk pastels and colored pencils.
You can smudge, blend, soften edges, and erase more freely. That means fewer harsh lines and more ability to sculpt form with value, which is something I care about when doing observational sketches of nature, faces, or atmosphere.
Colored pencils have more wax or oil, which means they resist blending unless you use tricks like solvent or layering techniques. That said, certain brands do feel softer than others – Prismacolor and Faber-Castell come to mind. Prismacolors have a buttery feel, while Faber-Castells hold a point better.
Pastel pencils also help if you're trying to loosen up. When I’m in the mood to draw quickly and loosely – like capturing a scene outdoors – pastel pencils encourage me to stay expressive and focus on shape and tone rather than perfect lines. That alone makes them a favorite for early sketch stages.
Cleanup, Dust, and Practical Stuff
This is where colored pencils have the edge.
Pastel pencils are messy. You’ll get dust. It’ll end up on your clothes and desk. You have to fix the drawing with spray if you want to keep it intact. If you're traveling or drawing in a sketchbook, colored pencils are much more practical.
I've done full drawings with pastel pencils that ended up smudging just from closing the book. If you're working on sunsets or loose landscapes where softness helps, that might be fine. But for more precise observational work, that dust can be frustrating.
Colored pencils, in contrast, are easy to carry, less messy, and don’t need fixative. They also offer erasable options if you're just starting out, like the Ticonderoga erasable colored pencils, which are surprisingly useful when testing out compositions.
Colored pencils also travel better. They don’t require special paper, and I’ve used them on toned paper, watercolor paper, and even tried drawing directly on canvas when experimenting.
Observational Drawing with Both Tools
In my own observational sketching, I always start with large shapes – usually shadow shapes first, then the big areas of light. I look at the subject more than the page. Whether I'm using pastel or colored pencil, I try to work from loose to specific.
That means squinting to see big shapes, blocking them in fast, then refining edges and smaller internal shapes gradually. I rarely outline anything first. I treat it more like sculpting with tone and shape.
With colored pencil sets, I tend to limit my palette so I don't overthink things. Maybe three values: light, midtone, and dark. I’ve learned how to color without white spots by layering intentionally and choosing the right sharpener. Keeping the point sharp really helps when working with fine detail or doing crosshatching.
I also like experimenting with watercolor colored pencils when I want a blendable option that still fits in my dry media workflow. They're great for underpainting a sketch.
Pastel pencils are more forgiving when it comes to early sketch layers. You can erase more cleanly. You can push and pull shapes around with a kneaded eraser. That helps if you’re still figuring things out as you go.
But colored pencils push me to commit to each line and shape. That commitment helps train your eye and hand, especially if you're working on colored pencil drawings for beginners or just trying to loosen up your process.
Final Thoughts from My Own Practice
At the end of the day, I use both. But I choose based on mood and purpose.
If I want to create a soft drawing of a butterfly wing or atmospheric portrait, I might use pastel pencils. If I want to sketch a botanical study with fine details or a complex structure like tree bark, I’ll grab my colored pencils.
If you’re just getting into drawing and trying to decide where to start, I suggest learning a bit about how to use colored pencils first. They’re versatile, portable, and open the door to all kinds of drawing techniques.
And when you’re ready to explore more expressive, smudgy work, try a few pastel pencils on textured paper. The looseness might surprise you and open up a new way of drawing.
Also, if you're curious about their differences beyond texture – like history or blendability – I’ve written about how colored pencils are made and even when they were invented.
If you want a good place to begin exploring colored pencils, check out this colored pencils overview that covers types, tips, and what to try first.