Using lots of fluid is just a waste and swamps the pencil that has been laid, this 'washes' the pigment into the paper surface. Shading with the pencil without any blending– The intensity of the colour is helped by the vellum texture of the Stonehenge. The colour glides on, it’s a very creamy texture pencil with the ability for a wide tonal range. Pencil Blend does not work on water soluble pencils. Pencil Blend works best with soft, oil based pencils such as Faber Castell Polychromos or Faber Castell Oil Base Pencils. It only works to a degree with wax based pencils such as Luminance or Derwent Studio pencils.

When blending with Pencil Blend (CF) and a brush (1 layer) vs blending with Pencil Blend (CF) and a paper stump (1 layer) – A slight softening of both squares occurred, but no more than the results found on Stonehenge. Consequently the tonal range of the squares from dark – light narrowed slightly. In the square burnished with the wet paper stump it was difficult to control and so the tonal range of the whole square became almost uniform.The area can be left to dry or further Coloured Pencil can be added to the area whilst the paper is still damp, each will give a different look. One thing to avoid - using too much liquid! Whenever people tell us the product doesn't work, it is usually because too much fluid has been used. When blending with Pencil Blend (CF) and a brush (3 layers) vs blending with Pencil Blend (CF) and a paper stump (3 layers)– The results were surprising in that I expected the Pencil Blend to have a much greater effect on the shaded squares than it did, even when applying it with a lot of pressure and a paper stump. Looking at these squares now it’s almost as if Pencil Blend wasn’t applied at all. Top left: pure pencil; bottom left: pencil blended with a dry paper stump; top right: blended with Pencil Blend and a brush; bottom right: blended with water and a brush When I burnished with a dry paper stump– Hardly any effect at all, although the tonal range is narrowed with the dark corner losing some of its colour and consequently appearing lighter.

Shading with the pencil without any blending– The pencil shows its drawn lines crisply and sharply, with a good 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) –There’s very little difference between the brush and paper stump after one layer – both ways of blending were able to soften the drawn lines. It was easier to maintain the gradation of tone from dark to light when blending with the brush rather than the paper stump. The white line seen in the paper stump square is the result of an indentation in the paper – a warning that Pastelmat needs to be kept flat! When I burnished with a dry paper stump– The dry paper stump was effective particularly in the lighter corner of the shading. In the darker corner it was not possible to burnish away the darkest lines.

The Results, Pencil by Pencil

The colour was laid quite lightly and graduated to indicate the roundness of the shape. Extra pencil can always be added, whereas it's difficult to remove if too much has been applied. How to use Zest-it Pencil Blend - with Tortillions or stumps. The Luminance pencil was applied this time to Bristol Board, the smooth surface helps with the transition of colour. When blending with Pencil Blend (CF) and a brush (1 layer) vs blending with Pencil Blend (CF) and a paper stump (1 layer)– Pencil Blend has more of an effect on this surface, with the majority of the drawn lines softened completely when it is applied with a brush and the shading taking on a more painterly quality. When applying the Pencil Blend with a paper stump the shading kept more of its pastel like texture.

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.

The Tests I Carried Out

The smoothest of all the surfaces I used – no texture at all. Also the brightest white yet still 100% archival. When blending with Pencil Blend (CF) and a brush (3 layers) vs blending with Pencil Blend (CF) and a paper stump (3 layers)– With the brush, you have more freedom – it’s possible to lift the graphite and move it around, similar to a watercolour pencil and water. You have more control and so you can blend with quite painterly effects. Once the solvent has evaporated the pencil is still smudgeable and erasable. With the stump it is a little less easy to control but you can still achieve a really nice blend and control the gradation. Also smudgeable and erasable. When blending with Pencil Blend (CF) and a brush (3 layers) vs blending with Pencil Blend (CF) and a paper stump (3 layers)– By applying 3 layers the dark areas start to look slightly shiny as the oil became caked into the surface of the paper.