ZEST - IT Pencil Blend 125 ml, TZP125
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ZEST - IT Pencil Blend 125 ml, TZP125
- Brand: Unbranded
Description
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 there is very little different between the brush applied square and the paper stump square. They appear very even and matt and solid in their colour. A Blending Sponge was used to dampen a soft 1/4" flat brush by pressing the brush to the sponge 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. When blending with Pencil Blend (CF) and a brush (1 layer) vs blending with Pencil Blend (CF) and a paper stump (1 layer) –Blending with a brush did not have much impact and looks similar to the unblended square of shading. However when using more pressure with the paper stump most of the lines were softened out.
The first 4 pencils I tested were all watersoluble: Caran d’Ache Luminance, Supracolor, Stabilo All Surface Pencils and Faber Castell Pitt Pastel pencils. I wanted to see if these pencils could also be dissolved with Pencil Blend, as if this was the case it would be possible to blend watersoluble pencils with regular coloured pencils. The Zest It Pencil Blend (CF) did not dissolve these watersoluble pencils as well as water does and so blending both watersoluble and non-watersoluble pencils combined would not be possible.
The Tests I Carried Out
Pencil Blend is available in a variety of useful sizes 50 ml; 125 ml and 250 ml and has a minimum usable shelf life of 5 years. Top left: pure pencil; bottom left: blended with a dry paper stump; top centre: 1 layer of pencil blended with Pencil Blend and a brush; bottom centre: blended with Pencil Blend and a paper stump; top right: 3 layers of pencil blended with Pencil Blend and a brush between each layer; bottom right: 3 layers of pencil blended between each layer with Pencil Blend and a paper stump. 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. 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. Shading with the pencil without any blending – The pencil itself has a soft creamy consistency and so it’s easy to lay colour on in a blended way without the aid of Pencil Blend but it will be interesting to see what happens when I use it anyway. In the first square you could see a slight trace of the drawn lines.
A paper stump allows you to apply more pressure and so the colour is better burnished, but it can be hard to control a gradation of tone. More pencil can be added whilst the paper is still damp, because the paper is now softer, work with very gentlepressureand then blend again. These findings were sufficient proof that Pencil Blend doesn’t work with watersoluble pencils, so at this point I stopped testing the Supracolor, Albrecht Durer and Pitt Pastel pencils. Shading with the pencil without any blending –On this very smooth paper, the drawn lines are very visible.
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Top right: 3 layers of shading on top of one another, using the pencil blend with a brush to burnish between layers. Using lots of fluid is just a waste and swamps the pencil that has been laid, this 'washes' the pigment into the paper surface.
When I burnished with a dry paper stump – The dry paper stump had minimal effect on the shading, you can see that the drawn lines have smudged a bit, but the drawn lines are still very much visible. 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 (3 layers) vs blending with Pencil Blend (CF) and a paper stump (3 layers)– After 3 layers of colour and pencil blend, the colour freely moved around on this very smooth surface. As a result with the brush and PB the square appears pretty uniform in its colour and tone, with my gradation getting lost in the blending. When the paper stump square, the drawn lines are still visible. I would say Pencil Blend doesn’t work too well with Luminance on this surface 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! 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.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 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. Bottom left: I burnished the colour with a dry paper stump, to see how much softening I could achieve without Pencil Blend.
- Fruugo ID: 258392218-563234582
- EAN: 764486781913
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