Vintage Prismacolor Premier Lightfast Set

Prismacolor Lightfast set of 24

Back of tin

Among the several used, incomplete assortments of vintage Prismacolors I have acquired over the years, I have found a couple of random pencils with a different labeling. In addition to the usual Prismacolor Premier branding of the late Sanford era, the pencils say “Lightfast” with a sunrise sunburst in silver foiling.

The Lightfast barrel includes the sunrise and lightfast rating.

With a little research, I discovered that these pencils were released in separate Lightfast sets around the beginning of the 21st century. To create the sets of 24 and 48, apparently Sanford simply took the most lightfast colors in the existing collection and rebranded them in the Lightfast packaging, which is identified by the silver metallic tin with an Aztec-like sun design.

I also learned that most of the 48 colors were eventually reincorporated into the standard Prismacolor sets without the Lightfast branding, so it was just a temporary branding change to call attention to the colors with the highest lightfast rating (perhaps in response to lightfastness criticism or to compete with other artist-grade colored pencil brands that were being marketed for their lightfastness? That’s just my own speculation).

I rarely see these short-lived Lightfast sets on eBay, and when I do, they are always overpriced (I’ve never seen a set of 48). One day, I spotted a set of 24 in a slightly banged-up tin but all unsharpened and at a decent price; I snapped it up.

With a 2004 Sanford copyright date, the set was made in the USA. The American Society of Testing and Materials-approved lightfast ratings of I or II is boldly imprinted in silver next to the Lightfast sunrise.

Made in USA by Sanford in Bellwood, IL.

The set’s color range is basic but solid for most types of drawing subjects. As expected, pigments that are known to be fugitive like bright reds, pinks and purples are not included, but the set still includes a few hues that would take care of many flowers and heavy equipment. (My question is: Why bother including white?)

The color numbering system is straightforward and logical. In my swatch chart, each number is preceded by LF. The last two digits of the LF number correspond to the current Prismacolor PC number. For example, LF197 Beige is the same as the current PC997 Beige; LF143 Burnt Ochre corresponds to PC943 Burnt Ochre. I was able to match all 24 in my set to corresponding current colors, at least by number. I haven’t compared all the colors one-to-one, but some look different from my memory of the contemporary colors.

Prismacolor Lightfast colors in Stillman & Birn Epsilon sketchbook

In this 2014 ArtPencilsRare blog post (one of the most useful in my research of the Lightfast sets), the writer lists quite a few colors in the set of 48 that are no longer available or are now available with different names. Of notable interest is another blog post I found that was published in 2007, which had this to say:

What is the most important thing to remember about these Lightfast pencils is that they are not as soft as Prismacolor Premier. They are closer to the hardness of other artist grade colored pencils such as Cretacolor Aqua Monolith or Derwent Studio/Artist or other brands. They lack the supersoft creamy texture of Prismacolor Premier, but are still within the ‘soft’ range and quite softer than Verithin. They're about halfway between Prismacolors and Verithins.

When I read this, I braced for a much harder pencil (like Polychromos, perhaps, which I would put “halfway between Prismacolors and Verithins”?). Making swatches, however, I would not have said they are much harder than slight variations in hardness I sometimes detect among various pigments within the same pencil line. They are certainly not anywhere near the hardness of Derwent Studio or Artist! It surprises me that this writer would perceive them to be that much harder than standard Prismacolors.

Finally, I made a test sketch of an unusual subject: I used no less than 10 pencils on this colorful reptile named Timmy. On the Field Notes Birch Bark cover, the pencils did feel just slightly harder than standard Prismacolors, but not enough to call out. The points still wore down just as quickly, and the application felt just as creamy and pleasant.

12/29/23 Timmy, the bearded dragon (reference photo by Holly Thurston)

Compared to many colored pencil users, I’m less concerned with lightfastness because I keep most of my sketches in closed sketchbooks. The only time, however, that I do consider lightfast materials is when I am making a gift or a commissioned drawing that might be displayed. In this case, the Field Notes was a gift, and I thought using this set was a good choice. It’s unfortunate that Prismacolor no longer offers a lightfast-colors-only set, which would be convenient for people who prefer lightfast art materials. (At least these 24 lightfast colors can still be selected open stock.)

In case you’re curious about Timmy, I’m tickled to tell his story: I am currently doing a test-run of commissioned pet portraits with all proceeds going to a local pet rescue/adoption organization (more about that in a future post). I was commissioned to make a drawing of one of two pets the owner was considering: a bearded dragon or an adorable white pup (you’ll see him soon, too). Although I was cautiously up for the challenge, I knew the dragon would be more difficult (all that spikey skin!), and I admit I was relieved when she chose the dog.

Lots of Lightfast colors used!

Meanwhile, she told me Timmy’s backstory: He is wearing a rainbow-striped bowtie in the reference photo because it was taken when Timmy appeared in the owner’s wedding! I smacked myself upside the head: What was wrong with me? How could I pass up drawing a bearded dragon wearing a rainbow-striped bowtie? (After finishing the commissioned drawing of the dog, I drew Timmy as a surprise gift.)

Material notes: I figured out why I love drawing on Field Notes Birch Bark cover stock (Mohawk Loop) so much – it recalls one of my favorite drawing papers, Legion Lenox Cotton. Mohawk Loop, a recycled paper, is certainly not 100 percent cotton as the Lenox is, but both papers have a similar velvety texture – a definite tooth, but not a “bumpy” or “ridgey” one (like some cold press papers).

I started searching, and it seemed that Mohawk Loop was available only in huge sheets and in huge quantities intended for the printing industry. But then I contacted Bryan Bedell at Field Notes (whom I got to know when he had “consulted” with me on Streetscapes last year), and he gave me some leads on lighter weights in smaller sizes. Will report back if that search turns out to be fruitful.