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The Lyra Rembrandt Polycolor Pencils are a specialised set of oil-based coloured pencils designed for artists, designers, and enthusiasts seeking high-quality tools for detailed and expressive work. Manufactured by Lyra, a German company with a rich history dating back to 1806, the Profi-Plus grey tones pencils are part of the broader Rembrandt Polycolor range, known for their vibrant pigmentation, smooth application, and versatility. The grey tones set, specifically a tin of 12 tones, is tailored for monochrome work, shadow underpainting, and detailed graphic art. In this article, we’ll dive into the features, performance, pros and cons, and ideal use cases of these pencils, drawing from various artist reviews and product specifications.
The Lyra Rembrandt Polycolor Profi-plus set, also marketed as 'grey tones', is a compact collection of 12 coloured pencils focusing on shades of grey, including shades of white, black, and both warm and cool greys. These pencils are oil-based, distinguishing them from wax-based alternatives like Prismacolor Premier, and are designed to offer excellent blending, layering, and lightfastness.
Notably, six of the colours in this set are unique and not included in the standard 72-colour Polycolor range: Light Grey Warm (195), Silver Grey Warm (196), Medium Grey Warm (197), Dark Grey Warm (198), Black Soft (199), and Black Hard (299). They come housed in a sturdy, hinged metal tin, a hallmark of premium coloured pencil brands, which ensures portability and protection. The set is marketed as an ideal supplement to the broader Polycolor range, particularly for artists who specialise in monochromatic illustrations or need nuanced greys for underpainting in coloured works. Set Contents: The tin contains the following 12 pencils:
Key Features
Performance and ApplicationApplication & Texture
The Lyra Rembrandt Polycolor grey tones pencils are praised for their smooth laydown and ability to blend effortlessly, particularly when used with the Lyra Splender blender or odourless mineral spirits (OMS). The oil-based core strikes a balance between firmness and softness, being slightly softer than Faber-Castell Polychromos but harder than Prismacolor Premier. This makes them suitable for both detailed work and broader coverage, though some may note they require more pressure to achieve full opacity compared to softer pencils.
The grey tones set are particularly effective for creating subtle gradients and shadow effects. On black paper, the white pencil performs adequately but isn’t as opaque as competitors like Derwent Lightfast, requiring multiple layers for strong highlights. The black pencils, especially the hard black, are excellent for fine details, while the soft and regular blacks blend well for deeper shading. Blending & Layering
Blending is a standout feature of these pencils. The oil-based core allows for seamless colour transitions, whether using a blender pencil, OMS (mineral spirits), or the pencils themselves. Some note that the pencils can be applied loosely without leaving visible pencil lines, which blend out smoothly for soft, blurry backgrounds or gradients. However, layering is where some users find limitations. Compared to Polychromos or Caran d’Ache Luminance, the Polycolor pencils fill paper more quickly, limiting the number of layers that can be applied before the surface becomes saturated. This can be a drawback for artists who rely on extensive layering to build depth.
Lightfastness
Lightfastness is a critical factor for professional artists, and the Lyra Rembrandt Polycolor pencils have a mixed reputation in this regard. Lyra’s own ratings (marked as *, **, or *** for satisfying, good, or extremely good) suggest high lightfastness, but independent tests by the CPSA reveal that less than 50% of the broader Polycolor range (72 colours tested) scored above 5.4 on an 8-point scale, with 11 of 24 colours in one set rated as inferior. For the Grey Tones set, each colour is marked as *** meaning these colours are all highly lightfast.
The lightfastness ratings and colour names of the Polycolor grey tones set of 12, as indicated on the inside of the tin lid.
Colour Accuracy & Range
The Profi-Plus set focuses exclusively on grey tones, offering a balanced selection of warm and cool greys alongside white and black. This makes it an excellent choice for monochromatic studies, portrait shading, or underdrawings. However, some artists have criticised the broader Polycolor range for inaccurate colour labeling on the pencil barrels, where the end cap colour doesn’t always match the core. For the Profi-Plus set, swatching is recommended to ensure accurate colour selection, as the grey tones can vary subtly in warmth or coolness.
Pros and ConsPros
Comparing oil-based coloured pencil brandsVs. Faber-Castell Polychromos The Polycolor Profi-Plus pencils share similarities with Faber-Castell Polychromos, both being oil-based and German-made. However, Polychromos are slightly harder, allowing for more layers and finer details, while Polycolors are softer and fill paper faster. Polychromos also have a broader colour range (120 vs. 78) and generally better lightfast ratings. The Polychromos range has 13 grey tones, plus a standard white and black. Vs. Prismacolor Premier Unlike the wax-based Prismacolor Premier, the Polycolor’s oil-based core avoids wax bloom and feels firmer. Prismacolors are softer and more vibrant but prone to breakage and less lightfast in some colours. The Polycolor Profi-Plus set is more specialised, focusing on greys. In contrast, Prismacolor Premier offers a broader tonal spectrum, with 19 grey shades, plus a standard white and black. Vs. Derwent Lightfast Derwent Lightfast pencils, also oil-based, outperform Polycolors in opacity. They also offer superior lightfast ratings, ensuring excellent longevity for archival artwork. However, their grey selection is limited, consisting of six light grey shades, one medium grey, one metallic grey, and three black tones (including warm and cool variants), which restricts their versatility for monochrome or shadow-focused projects. Additionally, Derwent Lightfast pencils come at a higher cost, while the Polycolor Profi-Plus set offers a more budget-friendly option for grey-focused work. ConclusionThe Lyra Rembrandt Polycolor Profi-Plus Pencils are a niche but valuable addition to an artist’s toolkit, particularly for those specialising in monochrome or shadow work. Their smooth blending, durable construction, and affordability make them a compelling choice for both professional and beginner artists. However, limitations in layering, mixed lightfastness, and less opaque whites mean they may not fully replace top-tier brands like Faber-Castell or Derwent for all applications. Many other brands offer a better selection of greys, but this is a great option as an added addition to the 72-colour set. For artists seeking a specialised set of grey tones at a reasonable price, the Profi-Plus set delivers solid performance with a few caveats. Whether you’re sketching detailed portraits or laying down underpainting for vibrant coloured pencil pieces, these pencils offer versatility and quality that punch above their price point.
Do you own this set of Lyra Polycolor Profi-Plus pencils?
We’d love to hear your take! How do you find this set or the broader Polycolor range? Are they your preferred choice, or do you swear by another brand? Please share your thoughts and experiences in the comment section below.
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PERSONAL RECOMMENDATION: I have used this product for many years to help seal my graphite and coloured pencil drawings as well as my pastel portraits too. I have tried some other fixatives, but I personally like this one due to the fact that it also includes a UV filter, which offers extra protection. Some fixative nozzles can become blocked which is when spitting happens and this can leave marks on your drawing, particularly noticeable if you use it for your pastel paintings. I have never had that problem with the Loxley one. USING IT ON MY OWN DRAWINGS When working on my coloured pencil portraits, I sometimes apply a fixative between the layers which helps to extend the working surface and minimise saturation if I have applied a large amount of layers to a particular piece. As the fixative secures previous layers, ensure you have finished blending as you may not be able to do this after sealing it with fixative. In the video above, you can see the Loxley fixative appear in the video showing you where I apply a spray of fixative. There are around 8 or 9 layers on this area alone and as I need to apply highlights to the dark fur, the fixative allows me to do this without muddying the colours. I can then continue with more layers. Once the portrait is complete, I treat it with two layers over the whole of the portrait to minimise smudging and to offer extra protection to the framed portrait, particularly as many people do not choose a UV or museum glass when framing. USING IT ON PASTEL ART If you work with pastels, you may wonder if you should use a fixative on your drawings. Take a look at the comparison photos below and see what may happen if you do. The one on the left is before applying fixative and the one on the right is after. See how the fixative has darkened the colours, creating a more translucent finish. The fixative has dampened the pastel application, causing the darkening of the pastels. This may depend on the pastels you use though as higher quality pastels may not react in the same way as cheaper brand ones due to their being more pigment in them. Many papers, particularly textured ones, do not require a fixative as they hold the pastel well with minimal pastel drop. At the end of the day, the final decision is yours alone. DIRECTIONS FOR USE: When spraying, hold the can about 12" away from your upright drawing and spray evenly from top to bottom. It has also been suggested to me that you can turn your drawing 45 degrees and respray, so you are applying a balanced amount over the whole of your drawing. Spray too close and you may create speckling from the aerosol. WHAT ABOUT USING HAIRSPRAY AS A CHEAP ALTERNATIVE TO FIXATIVE?
Never use hairspray as a fixative. Manufacturers of hairspray make this product for use on hair, not artwork. As hairspray is not acid-free, should you spray it over your artwork, it could cause it to yellow over time. The acid in the hairspray can cause discolouration of the pigment and may also make the paper brittle too. If you have ever used hairspray, you'll note that some can leave a tacky residue behind, not good for your work. It really is better to buy a fixative made for art, which will help protect your work properly for many years. If you wish to see the final portrait of the Boxer dog being created in the video above, click this link For anyone who uses the Caran d'Ache Luminance pencils, the company has released 24 new colours! You can buy individual pencils or purchase 20 of the colours in a box set called the 'Portrait assortment' These pencils have been available to 'pre-order' for a while, but online stores, are now receiving stock and getting them sent out to everyone. My set appeared on Saturday morning (18.07.20) and I have to admit to being very excited upon opening the box. For me, the Luminance pencils are THE best pencils I have used and I really appreciate that Caran d'Ache have extended the colour palette from 76 to 100. I suspect this was a reaction to Derwent releasing their first, fully lightfast pencil range last summer, which had 100 colours. For anyone interested, I have both ranges. The Luminance pencils are my regular 'go to' pencils as they are a little firmer than the Derwent Lightfast, and I am able to create finer details with them, but both ranges offer different colour palettes and having a larger choice is always a bonus.
The two darker tones, Indanthrone Blue and Dark Indigo will make a more natural replacement for the black pencil, but as the majority of my own work includes pets and portraits, having additional browns and pinks added to the palette is excellent. My current favourite colours are Burnt Ochre 10% and Burnt Sienna 10%, which I use on almost every portrait, so the introduction of the Herculanum Red, Violet Pink and Dark Flesh 40% are most welcome!  Above are the four new colours not included in the Portrait set. Personally, I think that Caran Dache should have created the Portrait set and include all 24 colours as they are just as important as all the other colours. I also wish they had included an extra grey for the 'eye colour selection', but as I use the greys more than most other colours, I could never have enough choice! Have you got yours yet? Do let me know what your favourite, or most used colours are, and which new colours you are most excited about!
You can view our Luminance article by clicking the link below. |
AuthorKaren M Berisford 
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