If you’ve been curious about Faber-Castell Polychromos colored pencils, you are in the right place! These pencils have a serious reputation in the coloring and art world, but with a price tag to match — so today we’re finding out if they’re truly worth the investment. I put them through a thorough, honest review, testing everything from how they color and blend to how well they sharpen and even how they perform on black paper. And as a fun bonus, I’ll also be coloring an adorable little hen while sharing some of my favorite tips, tricks, and techniques along the way! Be sure to grab the free downloads linked below so you can follow along at home.
Video Description
Are Faber-Castell Polychromos all they’re cracked up to be? Are they worth the money? Watch my in-depth, honest review of these colored pencils to find out!
I thoroughly test these pencils to see how well they color, blend, sharpen and more. I even test how they show up on black. By the end of this review you should know whether or not you want to invest in these coloring tools.
In the 2nd half of the video watch me color a cute little hen that I drew. I teach you several coloring techniques, tips and tricks as I color. Plus, you can download this hen coloring page, as well as the completed color charts using the links below.
CLICK THIS LINK FOR DOWNLOADS
http://www.coloringpagesbliss.com/faber-castell-polychromos-colored-pencils-review
PRODUCTS SHOWN IN VIDEO
Faber-Castell Polychromos Colored Pencils, 12-Set
http://amzn.to/2sA6dbz
Faber-Castell Polychromos Colored Pencils, 60-Set
http://amzn.to/2rLDbCN
Factis Black 18 Colored Pencil Eraser
http://amzn.to/2t4pNNW
Prismacolor Premier Colorless Blender Pencils, 2-Count
http://amzn.to/2iWc1Yk
Springhill Digital Vellum Bristol White Cover, 67 lb., 8-1/2 x 11, White, 250 Sheets/Pack
http://amzn.to/2ipiCbo
KUM 2-hole Pencil Sharpener Magnesium Alloy Wedge Profile
http://amzn.to/2hAmAMC
Gamsol Odorless Mineral Spirits
http://amzn.to/2s555cj
Buy Polychromos Colored Pencils Open-Stock
http://www.dpbolvw.net/click-8269188-11424558
ADDITIONAL LINKS
Link to more colored pencil reviews:
http://www.coloringpagesbliss.com/ultimate-colored-pencil-reviews
Link to learn about the paper I use for the worksheet and coloring page in this video
https://youtu.be/ln7yo_B2xXU
Link to all of my coloring product reviews:
http://www.coloringpagesbliss.com/reviews
Prismacolor Premier Colored Pencils 150 Color Swatches:
https://youtu.be/D-adOmWtPUw
Jennifer’s Blending Rule of Thirds:
https://youtu.be/ClW74f2Rj0I
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Transcript
Faber-Castell Polychromos Colored Pencils: Full Review & Demonstration
Hi everyone! This is Jennifer State from Coloring Pages Bliss. In this video, I’ll be reviewing and demonstrating the Faber-Castell Polychromos colored pencils.
In the first half of the video, we’ll take a close look at these pencils and put them through a series of tests to help answer your questions. In the second half, I’ll demonstrate how they perform by coloring this charming little hen that I recently drew. You can download and print this and many more coloring pages from my website. As always, links to this coloring page, all the products featured in this video, and my Facebook page, website, and other social media outlets are in the description below.
Before I get started, let me say that I always give my honest opinion in reviews. I make every effort to be accurate about all details, but please do your own research before making any purchases.
Let’s get started!
First Look: The Sets
These are the Polychromos by Faber-Castell, and they are beautiful. I have two sets to show you today — the 60-color set and the 12-color set.
I started out by purchasing the 12-color set over a year ago, and it’s one of my go-to sets. I keep it in my purse or art bag and take it with me everywhere because it’s such a slim, handy little set. I love that both sets come in a sturdy metal tin. As you can see, mine has been beaten up and taken a lot of abuse in my purse, and I really appreciate how well that tin has protected these gorgeous pencils.
The back of the case also has a lot of useful information — swatches and details about each pencil — which has been incredibly helpful. The case itself is stellar.
Recently I was able to get my hands on the 60-color set, and I feel completely spoiled. I have a separate video where you can watch me open it — it was just like Christmas. I’ve been coloring with it constantly and loving every minute.
I purchased a case by Global Art to store the pencils, and I also picked up 21 additional open-stock pencils from Dick Blick to fill in some colors I wanted that weren’t included in the 60-color set. I carry this case with me everywhere — upstairs, downstairs, and when I go out coloring with my sisters and family. I highly recommend getting a case like this if you don’t want to keep your pencils in the metal tin.
Inside the 60-Color Tin
Inside the case, there’s a really nice little leaflet with a brief history of the company, some coloring hints and ideas in multiple languages, and — most importantly — a full color chart showing all 120 available Polychromos colors. This is incredibly handy if you want to order additional open-stock pencils. Don’t lose that leaflet!
The pencils come in two separate plastic trays that lift out. However, those trays are very wobbly, and that’s the biggest reason I moved my pencils into a separate case. Dropping colored pencils is one of the worst things you can do to them, as it can shatter the core inside. That said, I do love that once you open the tin and drop the top tray into the lid, you can see all your colors at once and grab them easily. It’s a great way to use them while you’re working.
Pricing
Faber-Castell makes their products with the artist in mind, so they do run a little higher in cost. The 12-color set is usually around $16 online, and the 120-color set runs around $161. All sets — 12, 24, 36, 60, and 120 colors — fall somewhere in that $16 to $161 range. You can also purchase pencils individually; on DickBlick.com they’re approximately $0.69 each, which is a great way to build on a smaller set over time.
The Individual Pencils
Here’s a pretty magenta pencil as an example. The Faber-Castell Polychromos are round pencils, closed-ended, and painted along the entire body in the color of the core — which is really helpful when you’re selecting pencils for your artwork.
The text is printed in metallic gold and is generally legible, though occasionally you’ll need to tilt the pencil in the light to read it clearly. The color name appears in both English and German. For some colors, like “Delft Blue,” the names differ between the two languages, so it’s worth knowing both. Each pencil also displays its number — for example, 9201 refers to the Polychromos product line, and 141 refers to that specific color. This number is important if you ever need to reorder.
Lightfastness Ratings
There’s also a star rating system on each pencil, which refers to lightfastness — how long the pigment will last on paper without fading. One star means reasonably lightfast, two stars means lightfast, and three stars means very lightfast. From what I’ve learned, three stars indicates the pigment should last 100 or more years.
As I went through my 60-color set, the majority of the pencils are rated three stars, which is impressive and says a lot about the quality. The color chart inside the tin’s leaflet also shows the lightfastness rating for every pencil in the full 120-color range.
This matters a great deal if you’re creating art to sell. Your customers want to know that the colors will stay vibrant for years to come — whether that’s 15, 20, or 100 years. This is one of the reasons the Polychromos are priced higher than most colored pencils.
Bonded Cores
Another distinguishing feature of these pencils is that the cores are bonded — or glued — inside the wood casing. This is noted on the back of the tin as well. The bonded lead helps prevent breakage during sharpening, which is a common issue with some other brands. I have had a few leads break over time, but that’s a common occurrence with colored pencils in general, and it’s been very rare with the Polychromos. I’ve been extremely happy with how well they sharpen.
Oil-Based vs. Wax-Based
Another important difference is that the Polychromos use an oil-based core rather than a wax-based one. Because they’re oil-based, they’re water-resistant and smudge-proof. You can build up more layers, they go down creamy and smooth, and they don’t create as much waxy buildup as wax-based pencils. They simply behave differently, and you’ll see that clearly in the tests coming up.
The core is also 3.8mm, which means there’s a substantial amount of pigment inside each pencil. You’ll be able to use it for a long time before needing to replace it — another reason these pencils are worth the investment.
Do the Pencil Bodies Match the Colors?
One thing I always check is whether the color printed on the outside of the pencil actually matches how it colors on paper. I have a swatch chart here, so let’s test a few.
Number 151 — let’s compare it to my swatch. That’s a really good match. Number 109, Dark Chrome Yellow — another good match. Number 142 — yes, that one looks right too. I’d say the exterior colors on the Polychromos match the actual output very well.
If you’d like a color chart like the one I’m using, I have them available for download on my website. Check the links in the description below.
Reviewing the 60-Color Palette
Looking at the color chart I created for the 60-color set, I’m really happy with what’s included. I look for lights and darks within color families so I can build dimension, and I look for a good spectrum across yellows, pinks, blues, and greens. This set delivers on all of that. As I mentioned, I did purchase an additional 21 open-stock colors because I’ve fallen so in love with these pencils — and I have a feeling I’ll eventually work my way up to the full 120-color set.
Worksheet Tests
For testing, I’m using a color wheel as a reference standard and selecting yellow, green, blue, violet, red, orange, and a few additional colors. I use the same paper for all my brand tests to keep comparisons consistent.
One quick note: the 60-color set doesn’t include metallics, but looking at the leaflet, the 120-color set includes silver, gold, and copper — all with three-star lightfastness ratings. Those might be my next open-stock purchases! There are also metallic options — ruby, blue, and green — available in Faber-Castell’s marker line, which looks fun to explore.
Test 1: Core Usage
For this test, I’m using Burnt Sienna 283. I’m sharpening with my Kum magnesium sharpener, which is brand new and very sharp. The goal is to see whether these pencils can be sharpened to a truly fine point — something that’s essential for detail work and getting into the tooth of the paper. Then I’ll color a 2-inch by 2-inch square and track how much of the core is used across three layers.
First, the pencil sharpened to a beautiful, fine tip.
Layer 1 — Light pressure: I moved my hand toward the back of the pencil to help control the pressure. Even with a very light touch, there was excellent pigment transfer onto the paper. That’s a strong sign of a high-pigment, high-quality pencil.
After the first layer, very little of the tip was used.
Layer 2 — Medium pressure: I moved my hand slightly forward on the pencil and went over the entire square again. Still plenty of core remaining.
Layer 3 — Heavy pressure (burnishing): This layer is meant to fill in all the remaining white of the paper and test how much effort is required to work these pencils hard. I will say — this layer was more tiring than I expected. The burnishing step is always demanding, but I was surprised by how much effort it took. I actually had to take a short break before finishing. Beautiful results though, and there was still a significant amount of core left after completing all three layers. That’s the best core retention I’ve seen in any pencil I’ve reviewed so far.
After the test, I resharpened the pencil back to a fine point without any difficulty.
Test 2: Visibility on Black Paper
Many artists work on colored or black paper, so I always test visibility on black. Since the Polychromos are oil-based, I was curious whether they’d behave differently than wax-based pencils.
Testing with blue, yellow, and red — they do show up on black paper, better than some pencils, though not remarkably so. Oil-based pencils generally don’t perform as dramatically on dark paper as some wax-based options, but the result is decent.
Test 3: Erasing
I’m using a Faber-Castell eraser (the black 18) for this test. The Polychromos erase reasonably well — not perfectly, but well enough to lift color for highlights or to correct mistakes that drift outside lines.
Test 4: Black Pencil
This is Black 199. In the 120-color set, there’s also a Payne’s Gray, but according to the swatch it reads more as a dark gray. This is the truest black in the Polychromos range.
I burnished it in heavily and compared it to my value scale, which goes from 0% to 100% black. This pencil comes in at 100% black — a true, deep black. In certain lighting, the oil sheen can make it appear slightly lighter, but overall this is an excellent black. Some colored pencil sets really disappoint with their black, and that’s not the case here.
Test 5: Layering — Blue, Brown, and Yellow
This test shows how well colors layer over each other.
I started with a very light layer of blue across the entire rectangle, then layered yellow over two-thirds of it — blue and yellow together should produce green. Finally, I added brown over the last third.
What I love about layering with the Polychromos is that even at multiple layers in, the paper still accepts pigment. There’s no slippery, waxy buildup that rejects additional color. It almost feels like the previous layers aren’t there. You can keep building — four, five, six layers — and the colors continue to interact and show through. The result is a rich brown that, up close, still shows flecks of green, yellow, and blue underneath. That depth is what makes these pencils special.
Test 6: Blending — Rule of Thirds (Yellow, Orange, Red)
Using my “Rule of Blending Thirds” technique — there’s a full tutorial linked in the description below — I colored the rectangle yellow across the full length, orange across two-thirds, and red across the final third. Then I worked backward, blending orange into the red and yellow back over everything to pull it together.
The result was gorgeous. These pencils love to blend. The transitions were smooth, and the gradient looked beautiful. One of the best blending results I’ve seen.
Test 7: Blending with a White Pencil — Red and Blue
For this test, I colored two-thirds of the rectangle red and two-thirds blue, overlapping in the center to create a violet transition. Then I used a white pencil over the whole area to blend the pigments together.
The result was a lovely red-violet blend — naturally skewing toward red since that was the dominant color, but smooth and polished. The white pencil overlay works beautifully with the Polychromos.
Test 8: Odorless Mineral Spirits (Gamsol)
This is one of my favorite techniques to use with colored pencils. I keep a small amount of odorless mineral spirits — most commonly known by the brand name Gamsol — in a small container, and I apply it with a blending stump or a paintbrush.
I colored two-thirds of the rectangle blue and two-thirds yellow, overlapping in the center. When I applied the odorless mineral spirits using small circular motions, it broke down the oil in the pencil and spread the pigment beautifully. The blue was so strong it traveled almost all the way across the rectangle, and we ended up with green spanning nearly the entire area. The result is incredibly smooth — it eliminates white paper showing through, blends colors naturally, and creates a painterly, soft appearance.
One caution: if you’ve printed your coloring page on an inkjet printer, the mineral spirits can cause the ink lines to bleed. Laser-printed pages hold up much better. I try to avoid going directly over the lines, and when I do, I use a very light touch.
Odorless mineral spirits works beautifully with the Polychromos. If you haven’t tried it yet, I highly recommend picking some up at your local art or craft store in the painting supplies section.
Test 9: Colorless Blender Pencil — Yellow and Red (Prismacolor Premier)
I get asked all the time whether the Prismacolor Premier Colorless Blender works with the Faber-Castell Polychromos. The answer is yes — it works beautifully. I colored two-thirds of the rectangle yellow and two-thirds red, then used the colorless blender to smooth the strokes and merge the colors in the center, producing a lovely orange. The blender pencil is another great tool to have if you don’t already own one.
Test Summary
After completing all the tests, here’s my overall assessment:
Core usage was extraordinary — the best I’ve seen in any pencil reviewed so far. After completing the full 2-inch square test with three layers, there was still usable core remaining.
Sharpening was consistently excellent. Over months of testing, I’ve only had a couple of leads break, which is a very good track record.
Burnishing was more physically demanding than I expected. The final heavy-pressure layer was genuinely tiring, and I needed a short break. The results were stunning, but be prepared to work for it.
Layering and blending is where these pencils truly shine. They seem to have almost no limit to the number of layers you can build, which is essential for complex projects like skin tones, landscapes, or any work requiring depth and dimension.
Erasing works well enough to lift highlights and correct mistakes.
The oil-based formula means less waxy buildup and more layering capability, and I think you’re going to be extremely happy with these pencils for detailed, complex work.
Coloring Demonstration: The Little Red Hen
Now let’s move to the second half of the video, where I’ll demonstrate these pencils on the cute little hen I’ve drawn. Remember, you can download this coloring page on my website — links are in the description below.
I’ve set up my 60-color set and decided to make her a little red hen, just like the classic story. I’ve selected four main colors: Cadmium Red Middle 217 and Deep Scarlet Red 219 as my primary reds, along with supporting yellows, blues, and greens.
Building the Hen’s Body
I started by laying down Medium Flesh 131 across the hen’s main body. With a strong light source coming from the top left corner — and the hen looking up toward it — the front of her body will be lighter, while the back and undersides will fall into shadow. Keeping that light source in mind throughout is really important.
Next, I built up shadows using Pompeian Red 191, deepening the color toward the back and under the wings to give her form and dimension.
Then I layered in Cadmium Red Middle 217, continuing to build the dark shadows while staying mindful of the bright light source. I went back to the Medium Flesh to smooth out the layers and blend the transitions, using the Pompeian Red as a bridge between the two as needed.
Applying Odorless Mineral Spirits to the Body
Before moving to the accent feathers, I applied odorless mineral spirits to the hen’s body to blend everything together. I love how quickly it smooths out the pencil strokes, eliminates the white flecks of the paper, and brings out the depth of the reds — especially the deep cadmium red on the back of the bird. It gives the whole figure a lovely softness without exhausting your hand. I covered the container afterward to contain the fumes and prevent any spills.
Accent Feathers: Greens and Yellow
For the accent feathers, I chose Chromium Green Opaque 174 (lighter) and Juniper Green 165 (darker). I started with the lighter green, keeping the accent colors muted so that the red hen and the yellow sun remain the focal points. I blended the green up into the red slightly to create a natural, warm transition.
I then deepened the feathers with Juniper Green, adding shadows and dimension, and blended back in with the lighter green.
At that point, the lightest areas of the green felt like they needed a bit of warmth, so I introduced Dark Naples Ochre 184 — the same dark yellow I’ll use in the sunshine — into the highlight areas of the green feathers. It warmed everything up beautifully. This is where the Polychromos’ layering ability really saved me; I hadn’t planned on using yellow there, but a last-minute decision worked perfectly because these pencils just keep accepting more color.
Using a touch of the same yellow that will appear in the sun also creates the impression that the hen is being kissed by sunlight. It’s always a good idea to weave your light source color gently throughout the whole page — it’s rarely pure white light, and a consistent warm or cool tone throughout unifies the whole composition.
I was briefly worried the dark yellow would push the red areas toward orange, so I switched to my lightest yellow — Cream 102 — and applied it very gently to the areas of the hen receiving the most direct sunlight, particularly her face. Just a soft kiss of sunshine to help her feel like she belongs in the warm, sunny world we’re creating.
I also noticed some red had crept into the eye area, so I used my eraser to lift that away before it became a problem.
Applying Odorless Mineral Spirits to the Feathers
I went back in with odorless mineral spirits to blend the green and yellow accent feathers. Watching those colors come alive is so satisfying — the greens deepen and the yellows glow. I love that the shading I’ve already built up stays intact through this process. Moving lightly over the printed lines helps prevent them from bleeding.
I also added dark red along the quill or rib of each feather for definition, and gave the lower feathers the same treatment to tie everything together.
Beak and Legs
For the beak and legs, I used Dark Naples Ochre 184 as the base, then lightly layered Pompeian Red 191 over it with very light strokes. I kept the top of the beak lighter than the underside to reflect the light source. I used the lightest yellow — Cream 102 — to blend and soften, and made the base of her feet slightly darker than the upper legs for a grounded, dimensional look.
The Sunshine
For the innermost ring of the sun, I laid down a base layer of Cream 102, then built up Dark Cadmium Yellow over it, and blended back with the Cream to smooth the transitions. The outermost, richest band uses Dark Naples Ochre 184 to give depth and warmth to the glow.
I gave the hen a red ring around her eye to tie into the red hen theme, then added small dots of the darkest yellow as accent highlights — a final sun-kissed touch to connect her visually to the sky above.
Background: Blue Sky
For the background, I selected Light Ultramarine 140 and Phthalo Blue 110. Blue sky is perhaps an obvious choice, but it works beautifully here — yellow, red, green, and blue together create a strong complementary color harmony. And I planned to keep it very light, more of a whisper of blue than a bold statement.
I held the pencil at an extreme angle to the paper, with my hand at the very back end, barely catching the texture of the surface. Starting with the lighter ultramarine, I washed the entire background with the most delicate touch possible. You almost wouldn’t notice it’s blue without the contrast of the white edge — it’s more of a feeling than a color.
Then I used the Phthalo Blue to create a slightly deeper halo around the hen, suggesting shadow while reinforcing that the light is coming from above and in front. I let the blue get just a little darker toward the bottom, where the sunlight wouldn’t reach as strongly. I kept my touch extremely light throughout — I want the hen and the sun to draw your eye first, not the background.
The Eyeball
The eye looked too flat compared to everything happening around it, so I pulled out Cold Gray II 231 and Cold Gray IV 233 from the 60-color set.
I ringed the eye lightly with the lighter gray, then used the darker gray to shade the back and underside of the eyeball — leaving the front side lighter where the sun would be hitting it. In the area where sunlight would reflect, I gently touched in some yellow to suggest a warm highlight. I blended back with the lighter gray, being careful to maintain the bright white highlight in the center — that tiny white spot is what makes an eye look round and alive.
The difference was remarkable. She went from looking flat and forgotten to bright, round, and full of personality. She really does look like she’s gazing up at the sun now.
Final Thoughts
And there she is — our Little Red Hen, complete.
I’m really happy with how she turned out. The deep reds against the rich greens, the warmth of the sun, and the soft blue of the sky all come together in a way I’m proud of. I wish the background had a little more detail, and I could have gone back in with odorless mineral spirits to smooth it out further, but for this demonstration I’m very satisfied.
As for the Faber-Castell Polychromos — I have to say they are now one of my all-time favorite colored pencils. I still have at least 25 other brands on my shelf to review before I can crown a definitive favorite, but these pencils are always in my case and always by my coloring station. I reach for them constantly, and that says everything.
This coloring page is available as a downloadable PDF on my website — all the links you need are in the description below.
Thanks so much for watching! If you enjoyed this review, please take a moment to hit Like, and if you haven’t already, please subscribe to my channel. I have many more reviews and tutorials here, plus live weekly events on my Facebook page — I’d love to have you join our community.
If there’s a product you’d like me to review, leave a comment below. Thanks again for watching, and have a blissful and colorful day. Goodbye!
