Paul Rubens (Haiya) 8-pc Oil Pastels (Black)

This is a selection of black soft-oil pastel sticks to complement any Haiya set. This is one of the colours that I use the most; so, having an extra supply of them at an affordable price is paramount. Otherwise, I would have to replace them with other brands' sticks, which might or might not have the same properties or qualities. 

 

These oil pastels are buttery soft, like a lipstick, and very good quality. They spread, mix and blend well, but aren't as loaded with pigment as professional brands like Sennelier. Yet, one can't expect this to be the case due to the price tag. They can be blended with tissue paper, stumps, or my fingers, and can be used for layering and sgraffito. They're also great for finished touches in mixed media projects. I use fixatives on anything I put them on to prevent smudging and favour durability. 

 

The wrapping is around each stick should be re-designed. It looks good, but the information on them is barely visible or readable, like the opacity and pigments used on them.  I have learnt from artists' tests on YouTube that most of the Paul Rubens soft oil have great lighfastness, but I cannot see this reflected on the packaging leaflet or on the sticks wrapping paper info.

 

They come in a beautiful box, which makes them great for gifting.

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Paul Rubens (Haiya) 60-pack Soft Oil Pastels Set

Paul Rubens (HAIYA) Oil Pastels have been a discovery for me an have reignited my passion for this medium. I cannot afford Sennelier oil pastels, which are my favourite in the whole world, but also uber-expensive.  However, this Haiya set has many of the qualities I love in Sennelier minus the price tag. These pastels are really creamy and the colours are vibrant and beautiful. There is a large selection of browns, greens, blues, aquas, purples, reds, oranges and yellows, with a black and white added. On the contrary, there is a lack of pastel colours (another Haiya's set has those), grey and beige tones, and warm whites. They can be blended with tissue paper or my fingers, and used for layering, sgraffito and layering purposes. 

The opacity of the colours is shown on the stick wrapping. However, it is in diminutive size and I had to use a magnifying lens to see it properly. Some of the sticks and colours are opaque, others translucent, and others semi. The pigments used for each stick are also displayed on the wrapping. As my set most of it written in Chinese ain't sure if the lighfastness is mentioned in Mandarin. There is no indication of it on the accompanying leaflet. However, I've browsed the web and there seems to be an agreement among artists that these pastels have a good level of lightfastness. 

 

THE TEST

I tried them in two rough sketches I did on two pre-gessoed craft tags (not on pastel-purpose paper) just to check their pigmentation and blendability. These pastels are a pleasure to work with. The creaminess is not only yummy and satisfying, but it also favours colour  spread and mixing. I used simple average tissue serviettes as blenders and they did the job really well. The colours are gorgeous, but they lack a bit of more pigment in them, something that's understandable due to the price tag.  The pointy tips really help drawing an outlining. The colours mix well with each other. I used them to make a clean image and a impressionist textured one and worked well in both cases. I will try them on pastel paper and will edit this review in the future if necessary.

 

I used a permanent fixative when I finished the sketches and, before that, a workable fixative to allow me to keep working on them without the fear of smudging what I had already done.

 

Overall, a wonderful set of good quality pastel oils that are good replacement to Sennelier if you cannot afford the latter.  

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Paul Rubens Hot-Pressed 50%-Cotton 300gsm Watercolor Journal (Pink, 5.2’’ x 3.8’’)

This is the second small journal I buy from this brand. I reviewed a slightly different journal in the past. This version has some of the design deficiencies I criticised in the other version sorted out.

The most important thing is that this journal has a wonderful thick smooth watercolour paper that is great for both watercolour and mixed media. I always gesso my pages with either white or transparent gesso, which protects the paper, gives it some tooth and allows me to apply wet media or scratch the paper a bit without any worry.
 
The satin pink cover is really pretty and girly; not the best quality but befitting the price.  I'm happy that this journal does not have the awkward inner pocket the other has because the journal opens/closes more naturally. The journal comes with the promised elastic band, which is necessary to keep all the sheets together once they've all been torn apart.
 
The main downside is that the dotted tearing indentation is not consistent throughout the journal pages, and some of them are badly punctured. That being the case, the tearing is not always clean and neat.
 
For the rest, a great mini journal for experimenting, doing small paintings or just as a travel sketchbook. The separated pages make great postcards too.

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Paul Rubens Hot-Pressed 100%-Cotton 300gsm Watercolor Journal (Black)

I wanted  a compact good-quality small notebook or journal just to do warm-up mixed-media exercises and experimentation, and this item seemed to fit the bill.

 

THE GOOD STUFF

> Very good-looking sketchbook.

> Good-quality off-white 300-gsm watercolor paper. I love its smoothness and tone. See details about my testing below. 

> Stitch perforated paper sheets, which tear off easily. 

>  It has a separator ribbon, something that I love because I use it a lot!

> The notebook measurements are 3.8’’ x 5.2’’, a pocket size that makes it perfect to carry in my small handbag or briefcase. Perfect for traveling as well. I wanted something that is easy to store and this can be stored anywhere easily. 

> Affordable. 

> Very lightweight.

DOWNSIDES 

> The product Amazon-page photo and description and what I got are not the same. I've already given feedback to Amazon as some of the photos and statements are misleading and don't t relate to the product I got at all.  

> Unrefined leather-like cover.

> The paper is excellent, but I wanted a good journal not good loose paper sheets.

> My item doesn't have the elastic band/strap mentioned/photographed in the description page. I find this not only deceiving, but also disappointing because it seems to be an issue not just with my notebook but with many reviewers'. A band is necessary in any small journal with detachable sheets because, eventually, they'll all be loose and the band is needed to tide them all up. 

> Bad quality binding, with some parts just glued and others loosely sewn (see my photos). The product page says that it's loosely stitched to allow the removal of the middle thread to have a double-spread or panorama sheet. That's good, but since the binding is so poor, not all the pages are thread-stitched, all of them are perforated and some of them detach on their own, how is this going to work?

> One of the sheets was already cut off when I opened the product. The pad came sealed (as per my photos) so ain't sure if that's a factory issue or the item was a re-purposed return.

> The separator ribbon edge is already loose-threading itself (see my photos). 

> The back cover inner pouch is glued with the opening facing the spine, which makes it not only difficult to use but also useless to me.

 

PAPER TESTING

I've tested the paper twice before posting this review. Herewith my first impressions. My first test was done with a non-gessoed sheet. As per my photos, I used watercolour pencils, waters-soluble crayons (Neocolor II, Tim Holtz) and markers (Posca, Tombow), oil pastels (Ohuhu), soft pastels (Munyo), acrylic ink (Liquitex), heavy and fluid acrylics (Golden) alcohol ink, alcohol markers(Faber Castell, Copic), archival ink refills (Ranger), Stabilo-All and China black pencils, my fountain pen; FC Pitt permanent-ink markers; metallic markers as well as an UNI white gel pen. The paper stood well, without bleeding, most things, included my two alcohol markers, which is impressive. I found the paper especially lovely and smooth when watercolouring Posca, Tombow, Necolor II and Stabilo All. Soft pastels extended well with water, even though they aren't water-soluble and cheap, but oil pastels were not good on this paper, yet my pastels are cheap. Alcohol inks bled (see my photo) and, in a lesser degree, archival undiluted ink.

 My second test was done on a sheet of paper with clear gesso added to it, as this is how I usually work. I used simple mixed media, acrylic paint mostly, but also aquarelle pencils and markers, and plenty of water. The paper was a pleasure to work with and it doesn't buckle at all. Truth to be told, I usually work heavily on the paper, more than in this case, adding collage, stitching and what's not; yet, I'm very satisfied with the quality of the paper. 

 

IN SHORT

I consider this Rubens journal to be a mediocre journal. The paper, on its own, is excellent. However, I'm not buying loose sheets of paper but a journal, so it defeats the purpose. I wouldn't give this as a gift, but it serves me well for what I need: to experiment with my paints and have everything neatly collected. I will have to supply the missing elastic strap myself and sew the separating ribbon. This journal seems like a degraded version of the advertised product, like a bad batch perhaps, and there are significant discrepancies between what it's described on the product page and what I got. Bear in mind that the same journal is listed on a separated page and marked as 'Amazon choice', but it's a bit more expensive. Either way, next time I buy this journal, if it's as it is now, I will return it.

 

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