ZEST - IT Pencil Blend 125 ml, TZP125

Product Information

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 two squares look equally smooth to one another, but the brush has lifted less of the colour away in the darker corner and so has a greater tonal range.

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. When blending with Pencil Blend (CF) and a brush (1 layer) vs blending with Pencil Blend (CF) and a paper stump (1 layer)– When applying PB with a brush, drawn lines are still visible, there is not enough pressure to dissolve them. Working with the pencil blend was more effective 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) – Again, surprisingly the Pencil Blend failed to soften the lightest drawn lines although it did have a slight effect in the lighter corner of both squares. The square where I used a brush to work the Pencil Blend into the shading appeared slightly more blended than the square that I used the paper stump on.

Conclusion

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. 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. It has been thoroughly tested with many makes of Coloured Pencil for its excellent blending qualities.

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 softened out completely, although the gradation of tone was maintained more with the brush. The paper stump made most of the square tonally uniform, and also lightened the value of the colour overall because a lot of the colour was lifted from the paper by the stump. 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.

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. 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. 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. The Blending Sponge (Zest-it Pencil Blend in a sponge in a pot) was used to dampen a soft 1/4" flat brush by pressing the brush to the sponge surface.

Using Pencil Blend - with Tortillion. Paper stumps also work well for blending and are firmer then the Tortillion, more information on blending can be found under blending tools.For each pencil, I shaded 6 squares, each with a gradation from dark in the bottom left corner to light in the top right corner. 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– It was easy to soften a lot of the shading, save for some of the heaviest drawn lines in the darker corner of the shaded square. It’s a good product but I think it’s way to expensive for the quantity you receive. When painting a picture I will need to use quite a bit of this product for my painting to be realistically blended. Blending with Pencil Blend (CF) and a brush (3 layers) vs blending with Pencil Blend (CF) and a paper stump (3 layers)– Very similar results, although because the paper stump was pushing the colour into the paper the darkest corner appeared darker and more even. In the brushed square you can see traces of the brush dipped in PB moving the colour around on the surface of the paper, so it is very slightly more uneven.