Using Solvents with Coloured Pencils

Solvents change what a coloured pencil drawing can do. Applied with a brush or cotton bud, they melt the pigment and turn dry strokes into a smooth, paint-like wash, useful for large backgrounds and soft transitions that would take hours to build with layers alone. They are also easy to overdo, and they carry real safety considerations.

This guide explains what solvents do to pencil, the main types in general terms, how to apply them, how to test, and how to protect your paper and yourself. It belongs to our complete guide to coloured pencil techniques and is one of the methods compared in how to blend coloured pencils.

What solvents do

Coloured pencil pigment is held in a binder, wax in wax-based pencils and oil in oil-based ones. A solvent softens or partly dissolves that binder, so the pigment spreads and settles into the paper. The result is a smooth wash rather than visible strokes. That turns coloured pencil into something closer to watercolour.

Three effects are useful:

• Smooth backgrounds. A large area can be made seamless quickly.
• Soft transitions. Colours melt into each other with no visible edge.
• Better coverage. Pigment sinks into the paper’s grain, reducing speckling on textured papers.

Solvents are especially useful on textured papers such as Canson, where grain would otherwise show through a smooth passage. On very smooth paper, the effect is more subtle and there is less need.

A black picture frame with a white mount in portrait format.

Use sparingly

The single rule of solvents is restraint. Too much can warp paper or oversaturate pigment. Oversaturation means the pigment turns dark, intense and hard to control, and often leaves a stained look that no longer resembles pencil. A little solvent, on a little area, is nearly always enough.

Solvent also changes the surface. Once pigment has been melted and dried, the tooth is partly filled, so you cannot layer as freely on top. Plan for this: put the wash on early or in areas that will need little more.

Common solvent types

The following are general descriptions. Products vary by brand, and formulations change, so always check the manufacturer’s label and safety data sheet.

Type	What it is	Typical use	Notes
Odourless mineral spirits	A refined petroleum solvent with low odour, sold for art use	Smooth washes on wax or oil-based pencil	Low odour does not mean no vapour; ventilate
Gamsol-type art spirits	Branded art-grade odourless mineral spirits	The same uses, with consistent quality	Follow manufacturer guidance
Isopropyl alcohol	A common household and laboratory solvent	Light blending and cleanup; evaporates quickly	Flammable; dries fast, so effect is subtle
Pencil-brand solvents and blender pens	Products made for coloured pencil	Convenient, controlled application	Check pencil compatibility
Water	For water-soluble pencils only	Watercolour-style washes	Does not dissolve standard pencils

Odourless mineral spirits and Gamsol-type spirits are hydrocarbon solvents, and their vapour can still irritate. Isopropyl alcohol is flammable and evaporates quickly. Turpentine is a traditional oil-painting solvent with a strong smell and greater hazards, and many artists avoid it for indoor use. Whatever you choose, read its safety data sheet, work in a ventilated space, avoid skin contact and keep it away from flames or heat.

A white eraser on paper with coloured pencil dust beside it.

Water-soluble pencils

If you like the wash effect but would rather avoid chemical solvents, water-soluble pencils are an alternative. They contain a binder that dissolves in water, so a damp brush turns the marks into watercolour-style washes. Derwent Inktense is a well-known example; its colour becomes intense and permanent when dry, so check the manufacturer’s notes. They behave differently from standard pencils, so test them and avoid mixing the two without experimenting first.

Do not use water on standard wax or oil-based pencils and expect a wash: they are not soluble in water. See wax versus oil-based coloured pencils for how binders differ.

How to apply solvent

Choose the applicator by how much control you need.

• Soft brush. Good for even washes across larger areas. Use a synthetic brush that is dedicated to solvent, and dab off excess before it touches the paper.
• Cotton bud. Ideal for small areas, edges and controlled blending. Roll it lightly rather than scrubbing.
• Paper stump or tortillon. Dip the tip lightly and use it on fine detail.
• Cloth or sponge. Useful for very large, soft backgrounds, with a light touch.

Whichever you use, load the tool sparingly. It should feel barely damp, not wet.

Step-by-step: a solvent background

1. Test first. Make a small swatch on a scrap of the same paper, using the same pencils. Apply solvent and let it dry to see how the colour changes.
2. Ventilate. Open a window or work in a well-ventilated space, and check the safety data sheet.
3. Lay down the pencil lightly. Build the colour with even, light layers, working thin. Avoid heavy pressure.
4. Load the applicator lightly. Dab it on a paper towel to remove excess.
5. Apply in small sections. Use light, even strokes in one direction, following the shape or texture.
6. Let it dry flat. Do not add more solvent until the area is dry, so you can judge the result.
7. Add another layer of pencil once dry, if you need more depth or detail. The tooth may be partly filled, so keep pressure light.
8. Finish with detail. Sharp pencil work over the wash keeps the drawing from looking too soft.

Choosing paper for solvents

Paper matters more than pencil brand. Thin paper buckles quickly under any liquid. Heavier paper stays flatter and copes better, and Michael prefers heavy papers for layering and reworking generally. Textured paper, such as Canson Mixed Media, suits solvent well because pigment sinks into the grain. Smooth paper gives a subtler result and can look shiny if overworked. See paper weight explained, smooth versus textured paper and the best paper for coloured pencils.

If a sheet does cockle, let it dry flat under light weight, or tape the edges before you begin.

When to use solvents, and when not to

Solvents suit:

• Large, smooth backgrounds.
• Soft transitions such as sky or out-of-focus areas.
• Underlayers that will be worked over, as in underpainting in coloured pencil.
• Textured papers where speckle shows.

They are less suited to:

• Fine detail and crisp edges, which are better done with sharp pencil.
• Skin and fur where you want visible layering and texture.
• Thin or delicate paper.
• Situations where good ventilation is not available.

For most subjects, layering and light blending are safer and more controllable. Solvents are a tool for particular effects, not a default.

Common mistakes

• Using too much. It warps the paper and oversaturates pigment. Use less than you think.
• Skipping the test. Colours can shift and brands react differently.
• Working in a closed room. Ventilate and read the safety data sheet.
• Solvent on thin paper. It buckles and may not recover.
• Wetting the whole drawing. Work in sections.
• Expecting it to fix poor values. A wash smooths colour; it does not correct tone.
• Burnishing over solvent too early. Let it dry fully first. See how to burnish coloured pencils.

Solvents are one of several ways to smooth colour, so compare them with the best blending tools for coloured pencil, and if you want a solvent-free start, try coloured pencil drawing for beginners. Coloured pencils are called colored pencils in the US, and everything in this guide applies to both.

The short version

Solvents melt pigment into a paint-like wash for smooth backgrounds and soft transitions. Use them sparingly, on heavy paper, with a light touch and in a ventilated space. Test first, read the safety data sheet and dry in stages. When in doubt, choose layering and blending. See the full techniques guide for where solvents fit in the workflow.