comments:
Not electric, but I highly recommend the Derwent Super Point Manual Desk Sharpener. I also recommend you consider your technique if you find you're wasting a lot of expensive pencils by sharpening them too frequently - for example, Alyona Nickelsen in her book Colored Pencil Painting Portraits: Master a Revolutionary Method for Rendering Depth and Imitating Life goes into detail about application on different surfaces and makes a good arguments, at least for her techniques why one should use surfaces like sanded paper. Below is a couple of pages from it on the topic you may be interested in: ABRASIVE SURFACES FOR COLORED PENCIL PAINTING A simple switch from traditional cotton papers to abrasive surfaces that are rigid, toothy, and nonabsorbent is a straightforward solution that resolves many problems of colored pencil medium and offers many additional benefits. Such is the case with sanded papers or toothy acrylic gesso applied to a sturdy (four or more ply) board. Colored pencil application on such surfaces is substantially faster and does not require constant sharpening. Yes, working on toothy surfaces actually saves colored pencil medium and does so quite considerably, despite a common misconception that the toothier the surface, the faster it will “eat” the pencils. I never liked the fact that we were “throwing out the baby with the bathwater” and inwardly cringed about the waste involved in the frequent sharpening of my pencils. The durable tooth of a sanded paper mounted on panels/boards or cotton paper mounted on a rigid surface and covered with acrylic gesso allows us to sharpen a pencil only the number of times needed to expose the core out of the wood casing. Then you can maintain the point during the actual layering process just by rotation. This not only solves the “frequent sharpening disorder” but also speeds up the application process by a factor of at least five. The durable surface tooth “files” medium off the soft colored pencil core with even the lightest friction; thus, it automatically sharpens the point and deposits the shavings into surface crevices during the layering process. You only need to “even out” the application afterward. With this remedy, the bane of colored pencil painting—covering a large background—is now quite simple and easily accomplished. One tremendous advantage is that it allows colored pencil artists to work on much larger-scale projects, such as “life-size” portraits. Link to book: https://www.amazon.com/Colored-Pencil-Painting-Portraits-Revolutionary/dp/0385346271