Finding colored pencils sets that actually hit the sweet spot of quality, price, and range took me years of sketching, layering, and quietly cursing under my breath when another weak pigment crumbled on the page.
I’m not a formulaic step-by-step artist. I draw loosely and from observation—whether it’s a photo of an old owl or a protea flower on my desk. I block in big shapes first, usually by watching how light and shadow break up a form. I build up color gradually.
That means I need a colored pencil set that won't fight me while I work.
Over the years, I’ve tested everything from budget sets in tin cases to high-end collections that cost more than a short vacation. If you draw like I do—observational, expressive, and with a focus on shape and mood rather than realism or perfection—you don't need the most expensive set out there.
But you do need decent pigment, a usable range of colors, and a pencil that holds up to layering and blending without turning into a waxy mess.
If you’re just getting into it, I highly recommend reading my post on how to use colored pencils and techniques for coloring with colored pencils for some hands-on ideas.
In this post, though, I want to focus on sets: what makes a good one, and which ones I keep going back to.
Key Points
- Start with a set that has a balanced color range—look for muted and neutral tones, not just vibrant primaries.
- You don’t need a huge set. 24-36 pencils is more than enough if they blend well.
- Test on your actual paper. Some sets behave differently on smooth vs textured surfaces.
Colored Pencils Sets I Actually Use and Recommend
I’m not listing every set under the sun. These are the ones I’ve either used myself or tested enough to form a real opinion on.
I’m focused on the sets that balance performance with price—not the $400 museum-quality brands, but also not the cheap waxy ones that feel like crayons in disguise. These hit the middle ground where value and usability overlap.
Prismacolor Premier
If you want soft, rich color with tons of blendability, Prismacolor Premier is still the go-to. I used these constantly when I was studying traditional 2D character animation at CalArts.
They’re buttery and smooth, great for layering shadows and light in expressive, sketchy ways. You can lay down soft shadows or build vibrant, deep colors by layering 4-5 shades on top of each other.
That softness comes with a downside: they break easily. But it’s a trade-off I’m willing to make for how beautifully they blend. Keep a good sharpener for colored pencils nearby—you’ll need it.
- Rich pigments, easy to blend
- Soft cores, so they do break more easily
- Best size: 24 or 36-count sets (more than that gets repetitive)
Check out my full post on how to use Prismacolor pencils for more on how I make the most of these.
Faber-Castell Polychromos
These are the pencils I use when I want precision and control. They’re oil-based instead of wax-based, which makes the cores firmer and less prone to smudging. If I’m drawing something with lots of small light shifts—like feathers, leaves, or fur—Polychromos makes it easier.
They don’t blend quite as softly as Prismacolor, but they layer beautifully and retain more edge. They also hold a sharp point better, which I really appreciate when I’m working in sketchbooks with toothier paper.
- Doesn’t smudge or wax bloom
- Excellent for precise layering
- More expensive, but pencils last a long time and rarely break
You can read more about these in my deep dive on Faber-Castell colored pencils.
Derwent Coloursoft
This is the sweet spot for a lot of people. They’re affordable, pigmented, and hold their own in expressive sketching. The core is soft, but not crumbly. The colors lean toward subtle and earthy, which I love when I’m drawing from nature references.
I like these for observational sketching in the field, especially when I don’t want to bring my pricier sets. They give a nice range without dominating the page.
- Slightly muted tones, easy to control
- Good price-to-performance ratio
- Nice option for expressive sketching with variation in tone
What Makes a Set Worth It
Before you get distracted by the number of pencils in the box, look at the actual colors. A 36-piece set full of harsh primaries and near-identical greens doesn’t help anyone.
Here’s what I actually want in a set:
- At least a few neutral browns and greys for toning
- A light ivory or cream for blending and soft highlights
- Deep blues and purples for shadow structure
- Muted greens and reds that aren’t cartoonish
Bright colors are fine, but I almost never reach for the super neon hues unless I’m experimenting. If you're just starting out, check out using colored pencils for beginners—it walks through how I actually build up layers from a basic palette.
You also want a pencil that can handle multiple layers. I usually layer 3-5 colors for each shape in a drawing—from a warm base tone to the deepest shadows. If the pencil starts to smear or resist layering after two passes, it won’t work for the kind of observational drawing I do.
I sometimes use burnishing to finish off a section, especially if I want a smooth finish without solvents or water.
Other Types to Explore
There are some specialized colored pencils worth mentioning too.
If you’re doing rough sketches and want to erase or adjust lines, I’ve actually found some value in erasable colored pencils, especially the Ticonderoga erasable pencils. They won’t give you finished-quality color, but for loose shape-blocking or planning a layout, they’re great.
For a more painterly approach, try watercolor colored pencils. You can draw dry, then activate with water. I talk more about the trade-offs in colored pencils vs watercolor pencils.
Paper and Surface Matter More Than You Think
The paper you use changes everything. You can have a great pencil set, but if you’re working on thin or glossy paper, you’ll be frustrated.
Smooth paper (like Bristol) gives you crisp, clean edges and light coverage. Great for portraits or graphic-style work.
Textured paper (like cold press watercolor or heavy sketchbook paper) grips more pigment and lets you build up layers slowly. This is what I use when I’m doing nature drawing or animal sketches where I want more texture.
Check out my breakdown of the best paper for colored pencils to see which ones hold up best.
I even tried using colored pencils on canvas once just to see what would happen. (It was weird, but interesting.)
Drawing from Life with Limited Sets
When I travel or sketch on location, I usually bring just 12 or 18 colors. That might sound limiting, but it actually forces you to focus more on light and shape than on perfect color matching.
Drawing from life is about capturing form and atmosphere. You don’t need the exact green of the tree—you need contrast, structure, and tone.
Here are a few things I do when drawing observationally with a limited set:
- Use cool colors (blues, purples) in shadows, even if the object isn’t that color
- Let pencil strokes show—they add energy and texture
- Simplify the subject into big shapes first, then carve into the edges with detail
If you’re new to this approach, I wrote a whole post on colored pencil drawings for beginners that covers my mindset and process.
I also like doing themed studies, like drawing a sunset with colored pencils or something detailed like butterflies. It helps test how your set handles different subject matter.
Related Guides
If you want to nerd out a bit more, I put together a few posts on the history and science side of things: when colored pencils were invented and how they’re made.
I also compare different tools and hybrids, like colored pencils vs pastel pencils and how colored pencils and watercolor or colored pencils and markers can work together.
And if you haven’t yet, start with the basics on colored pencils. That guide gives a solid overview of materials, types, and what to expect if you're just starting out.