When blending with Pencil Blend (CF) and a brush (1 layer) vs blending with Pencil Blend (CF) and a paper stump (1 layer)– Using the PB brings out the intensity and darkness of the graphite in the darkest corner quite dramatically in comparison to the square that was burnished with a dry stump. More control with the brush than the stump dipped in PB.

When I burnished with a dry paper stump – Dry paper stump does a good job of blending as it is. Lines are softened and the burnishing brings out a warmth in the colour. When blending with Pencil Blend (CF) and a brush (3 layers) vs blending with Pencil Blend (CF) and a paper stump (3 layers) –The colour does look significantly more saturated after 3 layers have been applied with the Lyra, so the paper is able to take more colour. The gradation is maintained more successfully in the square where the PB has been applied with a brush. However with the Pablo it was a struggle to even put the second layer of colour on – the paper didn’t seem to have any more capacity for holding colour. I did find that I needed to change my brush technique when blending to get the best result. If I move the brush in a circular motion on the surface it helps the solvent work into the drawn lines and soften them. I have learned that the build up of friction is necessary in dissolving the pencil, you can’t just expect one brush stroke to smooth the lines. With both the Lyra and Pablo pencils it was very difficult to maintain the gradation from dark – light when blending with a paper stump dipped in PB, but it was successful in softening out the drawn lines to make solid squares of colour.Shading with the pencil without any blending –As expected, drawn lines are visible and there is a fair amount of texture. When blending with Pencil Blend (CF) and a brush (3 layers) vs blending with Pencil Blend (CF) and a paper stump (3 layers)– hard to get the colour on after 2 layers – felt like the paper couldn’t hold anymore. Very little difference in appearance between 1 layer and 3 layers. 3 layers on Bristol board isn’t even as dark as 1 layer on Pastelmat. When blending with Pencil Blend (CF) and a brush (3 layers) vs blending with Pencil Blend (CF) and a paper stump (3 layers)– The Pastelmat could take 3 layers, with the darkest corner becoming really intensely dark. It was easier to control the blend with the brush – with the paper stump the gradation got lost a little bit as colour spread into the lightest corner. When blending with Pencil Blend (CF) and a brush (3 layers) vs blending with Pencil Blend (CF) and a paper stump (3 layers) –Both squares were blended beautifully, however it was harder to control the gradation from dark to light when blending with the paper stump.

When blending with Pencil Blend (CF) and a brush (3 layers) vs blending with Pencil Blend (CF) and a paper stump (3 layers) –After 3 layers the shading in both squares appears intense and rich and smooth, with a great tonal range. When blending with Pencil Blend (CF) and a brush (1 layer) vs blending with Pencil Blend (CF) and a paper stump (1 layer)– The brush doesn’t offer the pressure needed to soften all the drawn lines, but it does go some way to blending the colours. The paper stump is much more effective. When I burnished with a dry paper stump– I needed to apply a lot of pressure with the dry paper stump to burnish the shading. The feint lines still show but I managed a bit of softening of the drawn lines. However the darker lines are more stubborn and cannot be softened with the stump. The gradation from dark – light became less subtle after working into the shading using the paper stump.Shading with the pencil without any blending – As to be expected, it doesn’t feel as oily as the oil pencil, it has a more brittle feel than the oil pencil. When blending with Pencil Blend (CF) and a paper stump (3 layers) Again, I felt the surface was smoother than when I worked with a brush, but I couldn’t get the dark corner to be as dark as the corner I made in the square using a brush to apply the pencil blend. The lightest corner appeared smoother than in the square with the brush + PB.

When blending with Pencil Blend (CF) and a brush (3 layers) vs blending with Pencil Blend (CF) and a paper stump (3 layers)– I found that I couldn’t get it much darker than I achieved with just one layer, the graphite was already as dark as it could be (which was pretty dark!) The strokes of graphite where the paper could not take anymore are visible as slightly shiny streaks. great alternative to turps, white spirit etc, without the horrible fumes... and with a lovely orange smell! Don't need to use much to go a long way, and doesn't stain paper.2017 When blending with Pencil Blend (CF) and a brush (3 layers) vs blending with Pencil Blend (CF) and a paper stump (3 layers)– Again, the tonal range is greatest in the square that is blended with a brush, however only by a fraction. You can see traces of drawn lines in the square blended with a brush as well. In comparison the square blended with a paper stump is much smoother. The Pencil Blend works best on the Pastelmat paper with Derwent Studio pencils, and only really has a good effect using the greatest amount of pressure with a paper stump dipped in Pencil Blend on all the other papers I tried it with.

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It leaves no residue of itself once dry, it is economical in use as a small amount goes a long way. You can 'top-up' the Blending Sponge 10 times with a 50 ml bottle! Our Pencil Blend is non-toxic and non-flammable which many Pencil Artists value for use with their pencils and in the studio environment. Artists share their techniques for Blending Coloured Pencils Although Pitt Pastel pencils are also watersoluble I tested them with the Pencil Blend (CF) as well as I thought they might behave a bit differently to a conventional wax based watersoluble pencil. Shading with the pencil without any blending– As expected. Good tonal range, drawn lines are visibile on the slightly textured paper.

Pencil Blend is a solvent that would dilute any oil based media. I found it to have very little odour, just a feint solvent-y scent. Use in a well ventilated room if you are working for a long session, or are particularly sensitive to fumes. The solvent is completely clear and is available in 125ml and 250ml bottles with a plastic safety cap, in citrus and non-citrus varieties. Shading with the pencil without any blending – A good tonal range from dark to light, the subtle texture of the paper is reflected in the drawn lines. When I burnished with a dry paper stump– Lifted a lot of the colour away again, leaving a very soft powdery/soft pastel like effect. Accumulated more dust than the other papers. Conclusion with Luminance – by far most effective on Pastelmat, didn’t really work on the other papers, which implied it may not be suited to use with wax pencils. Testing its efficacy with a harder wax pencil – the Derwent Studio – will offer a useful comparison.More pencil can be added whilst the paper is still damp, because the paper is now softer, work with very gentlepressureand then blend again. When blending with Pencil Blend (CF) and a brush (1 layer) vs blending with Pencil Blend (CF) and a paper stump (1 layer)– The brush blended square still has traces of drawn lines in it. The tonal range is still as wide as the completely dry unblended square. There has been some blending and softening but it hasn’t been entirely successful. There’s a much smoother result in the paper stump blended square, although again the tonal range has been reduced where the stump has lifted some of the darkest shading. When blending with Pencil Blend (CF) and a brush (3 layers) vs blending with Pencil Blend (CF) and a paper stump (3 layers)– Applying the Pencil Blend with a brush for 3 layers gave a really smooth paint like quality, with a real depth of colour that has a velvet like texture where the colour is applied at its heaviest. When I applied 3 layers of colour, burnishing with Pencil Blend and a paper stump between layers, the resulting square is less smooth looking and still pastel-like in its texture.