Sometime ago, I published a tutorial showing how I blended colors in a background with rubbing alcohol. In that post, I mentioned that the method also worked for other solvents, so I thought I’d talk a little bit about blending colored pencil with solvents.
If you’ve been following this blog for any length of time, you’ll know I don’t often blend colored pencils with solvents of any kind. I much prefer the look of a drawing when the blending has been accomplished by layering.
Blending Colored Pencil with Solvents
But there are times when blending with a solvent of some kind is the prudent thing to do. Maybe I’m short of time or I can’t achieve the effect I want in any other way.
So I’d like to address this topic from two points of view: The solvents I’ve used in the past, and the solvent I use now.
Solvents I’ve Used in the Past
Since I began my artistic career as an oil painter, I was accustomed to using turpentine. When I began using colored pencils, it was natural to try my painting solvents for blending colored pencil work. Do you know what? They really do work!
I also sometimes used rubber cement thinner.
What I liked about turps and rubber cement thinner was that I could do very deep blends, and create layers of color that looked like oil paint.
However, I no longer recommend either one. Why have I made that decision, since they both blend so well?
That’s simple. Both of them are very strong in odor and in action. Even though I had plenty of experience using turps in oil painting, I used them sparingly. When I began using turpentine for colored pencil, I used them only outside, where I had plenty of ventilation. Even so, the odor was very strong, so I had a limited amount of time before the fumes gave me a headache.
Rubber cement thinner is even worse as far as fumes.
So neither of those are on my list of recommended solvents for colored pencils today.
Yes, you can probably find videos and blog posts recommending both for blending colored pencils. That’s because they do such a good job.
But as far as I’m concerned, the risks and inconveniences are not worth the benefits. You can, of course, make your own decision about both, but think carefully before you do. Be prepared to take proper precautions if you do use them.
Solvents I Use Now
The only painting solvent I use now is odorless mineral spirits or OMS. Don’t be fooled, though. Just because a solvent is odorless doesn’t mean its non-toxic. Keep containers closed and sealed when not in use.
In my experience, OMS works on everything from Stonehenge and Canson Mi-Teintes to Pastelmat and UArt. Techniques vary from one paper to the next, but I have been able to get good results blending with solvent on almost every paper I’ve used in the last couple of years.
I haven’t tried solvent on Bristol Vellum, and probably won’t. Mostly, because I don’t use Bristol that much. Secondly, the paper is so smooth that I see no need to blend with solvent.
The brand I currently use is Gamsol, but I’ve also used Mona Lisa, and have had good results with both. The brand I purchase when I purchase OMS is based entirely on price. I buy whatever is least expensive!
Why I Don’t Blend with Solvents More Often
But the simple truth is that I don’t use liquid solvent of any kind unless I absolutely have to or cannot get a certain affect in any other way. There are two reasons for that.
The first reason is that I prefer the look of my artwork when it hasn’t been touched by painting solvents of any kind. There’s just something about the results of dry blending that appeals to me.
The second reason is that I’ve found other ways to blend colored pencil that are faster, easier, and safer since I discovered Pastelmat. Simple layering, paper stumps, and bristle brushes are all great ways to blend colored pencil on Pastelmat and other sanded art papers.
So I no longer need solvent as often.
Blending Colored Pencil with Solvents
There’s nothing wrong with blending colored pencil with solvents. Just because I don’t use solvent that often doesn’t mean you shouldn’t. If you like the results, then blend with solvent.
Just be sure to take the appropriate precautions.
After all, we want to enjoy our art without causing harm to ourselves!
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Odorless liquid is great for blending black background areas. Thats the only way I can get real black with no white “holes” in it
Ignacio,
Odorless mineral spirits is great for blending colored pencils and it’s a great way to get very dark dark colors. In fact, I have a “finished” piece with a black background that I’m considering work over with either odorless mineral spirits or turpentine to deepen the background.
Carrie
I recall the overpowering odour from the Rubber Cement Thinner back in my graphic design days, before digital took over. Everything was done using wax or rubber cement for paste-ups and camera ready art. It sure did the trick though in rejuvenating a jar of rubber cement that was getting thick in its viscosity.
I have yet to try solvents of any kind and prefer the results I get using a simple burnisher.
I used Prismacolor on Fabriano Artistico 300lb. After about 10 – 15 layers (a blue sky) it looks like the paper does not take any more. What can i do, other than solvent.
Felizitas,
Thank you for your question.
That’s difficult to say. I haven’t used 300lb watercolor paper very often, and don’t think I’ve ever used Fabriano Artistico, so I can’t offer advice from personal experience.
However, it does sound like you’ve filled up the tooth of the paper to the point that it will not take anymore color. So you can try blending with solvent and see if that helps. The paper should handle the moisture well and without buckling. Just make sure to tape it to a rigid support first, if you haven’t already done that.
Something else you might try is applying a workable fixative for dry media to the drawing. Two or three light coats, letting the fixative dry between coats. You might be able to get a bit more tooth back with that.
The last thing I’ll suggest is Brush and Pencil’s Touch-Up Texture. That can be painted onto the drawing and will restore some tooth.
I’ve had some successes with the workable fixative, and minor success with Touch-Up Texture, but either one might work for you.
If you decide to try either method, do a test on a corner of the paper first to make sure there’s no discoloration.
I hope those suggestions help.