Tag: prismacolor

A few thoughts about pencils, blending and burnishing

Ruby Charm Colors September 24, 2020

Hi all, and happy Thursday! I thought I would share some thoughts I had while responding to a friend through Etsy about colored pencils recently. Because who doesn’t like a few tips when it comes to working with colored pencils? Keep in mind that I am not an expert by any stretch, but these are a few tools and techniques that work well for me. And to illustrate my thoughts, I colored my Rocky Raccoon design (available on Etsy).

My friend is one of those lucky owners of the Holbein colored pencils. I have a few and it’s so tempting to order the complete set, however I desperately need new eye glasses so the Holbeins will have to wait. She reached out to me because she wanted to learn more about the Caran d’Ache Luminance pencils. In short, I love them! They are highly pigmented and opaque, and lay down on most types of paper very nicely.

Working on more toothy paper can make ‘white speckles’ appear in your coloring. Basically, it’s simply your pencil skipping over the little divots in the paper while sticking to the more raised bumps with textured paper. You can feel a paper’s texture with your fingers, and if you look at it with a magnifying lens, you can see all the little peaks and valleys of the paper’s fibers. You’ll see more of them in highly textured watercolor paper, and less in more smooth papers like certain Bristols and card stocks. A Prismacolor colorless blender pencil can help further blend your colors and get rid of those white spots that appear on more textured papers, and I also do a lot of burnishing with the Caran d’Ache Blender Bright stick (but more on that shortly).

Only the raccoon face and the right side of the limb is blended here (with the Prismacolor blender and a Blender Bright stick). You can see the white speckles from the tooth in the paper in some of the darker areas I colored, especially the tail and feet.

I have found that the Luminance pencils, combined with the Derwent Lightfas t and the Derwent Drawing pencils, is a perfect combo. They work so nicely together, and the color range is gorgeous. They are all fairly earthy colors (which I tend to gravitate toward) and some brighter colors, too. These pencils are what I would call soft and highly responsive, though you can get a nice point on them for tighter areas and details. I typically use them for my base layers, then use the Tombow Irojiten pencils (which are quite hard and can be sharpened to a really sharp point) to add little details, extra color, and even burnish.

The few Holbeins I do have (thanks to another friend who sent me a lovely set of 12 pastels) work well with my Polychromos pencils (another perfect combo in my humble opinion) and I use the Irojitens with them for fine details and burnishing, too.

It’s taken me awhile to refine my approach to coloring and mixing pencils brands, but I think I have it down pretty well now for my tastes and coloring habits. Basically, I either use my Luminance, Lightfast and Drawing pencils together, or I use my Polychromos and Holbeins together. Do I prefer one grouping over the other? Difficult to say. I think the group I choose depends on my mood, though when working on black paper, I do prefer the Luminance, Lightfast and Drawing grouping because they are a bit softer and color over black paper more readily. And of course I still mix in other pencil brands as well including my tried and true Prismacolors and Pablos.

I know I have mentioned this before in other posts, but I find that smooth card stock sometimes needs a layer of watercolor pencils to give me a little extra tooth. I pick a few colors that will work well for my base layer, use a water brush to blend, let it dry thoroughly, then work with my colored pencils on top of the dried watercolor pencils. My favorites are the Faber-Castell Albrecht Durer and the Caran d’Ache Museums, though I love working with the Caran d’Ache Neocolor I Is, too. Lots of steps for coloring a design, I know, but I truly enjoy the process and am always pushing myself for better results.

Buying a set of the the Luminance pencils or the Derwent Lightfast pencils can be a bit daunting (for the old wallet) so if you think you would like to try any of these, order a few of your favorite (or most used) colors from Blick or Cult Pens first to see if you really like them before investing in the whole set. There are also a few places that carry single Holbein pencils, but buyer beware. I had emailed Holbein back in May with a few questions about their colors, color names, and where to find individual pencils and they responded with the following:

"The Holbein Colored Pencils are not available in North America yet as they currently present serious health concerns. A few of the colors can cause severe Chronic and Acute issues. They have been sold illegally by off shore retailers with no regard for Health labeling. The US and Canada have very strict regulations and these have been blatantly disregarded. We have advised those who write to return the pencils to the retailer who sold the pencils to them ....

The good news ... We will be launching the North American edition of the pencils by the end of the year. Unfortunately, the COVID-19 pandemic has delayed the launch. You will be able to find them at all large US retailers in the months to come. For the record, your pastel set does not contain any of the invasive colors ... Rest easy!

So there you have it – Holbeins are coming to America! Not sure how they will compare to the pencils made in Japan, or if they will be available as singles, but I am very excited to find out and am saving my nickles.

UPDATE! Blick now carries the official Holbein pencils here in the USA!

As with any pencil brand, it takes time to get used to how it behaves on paper. Some pencils will feel natural and easy to use right away, while others require more time to adjust–and this is different for everyone. If you get new pencils and are not sure if you like them right away, play with them a while! It took me months to get a real feel for the Polychromos pencils after using only Prismacolors for years, and I had a similar experience with the Luminance. It took time, trial and error to really understand how to use them.

My three must haves? The Caran d’Ache Blender Bright stick, the Prismacolor Colorless Blender pencil, and the Caran d’Ache Buff Titanium pencil.

Luminance Buff Titanium, Blender Bright and Prismacolor Colourless Blender

I use the Buff Titanium to blend and soften my colors, the Prismacolor Blender to simply blend, and the Blender Bright to do a final burnish of my work. All three pencils work differently and will give you different results, though they can be hard to distinguish at first.

Raccoon drawn and colored by S. Carlson (Ruby Charm Colors) © 2020

To illustrate my thoughts on these blenders, here is a sneak peek at a raccoon I recently drew and colored. This little guy will be in the 2021 Creative Companion (and is now on Etsy as a downloadable PDF for coloring), but I used all three types of blenders to achieve the results I wanted.

First, I started with Luminance, Drawing and Lightfast pencils for my layers, then Irojiten pencils to draw in the additional background details (the little cloud shapes in the top half, the scribbles on the tree bark, and the green vines for the bottom half).

Once I had all my colors down, I used the Prismacolor Blender pencil to fine-tune areas that needed blending. This pencil “squishes” or rubs the pigments together on the paper without creating a sheen. In fact, it’s sort of like using super-super-fine sandpaper and retains a matte appearance. Don’t overdo it, though–blend with this pencil too forcefully and you can lose some of the pigment on your paper or rip a hole in it.

For the sun and the clouds, I used the Buff Titanium pencil (which is not technically a blender but I like to use it as such) because it has a faint yellowish cast (almost antique) and it really softens my colors.

For everything else, I used the Caran d’Ache Blender Bright which is a grayish, solid stick of high quality wax. It can be sharpened with any old pencil sharpener or blade so you have a fine point, or you can turn it sideways and use one of the flat sides to burnish large areas since there is no casing around the stick. One of the big reasons I love the Blender Bright is because in addition to intensifying my colors, it also creates a bit of a sheen and protects my art from UV light and water. It’s not necessary for a lot of colorings done just for fun, but since I sell some of my original colored pencil artworks, I want to be sure those pieces won’t fade.

Burnishing with the Blender Bright brings up the saturation level of the colors and essentially ‘locks them in’ under a smooth layer of wax. This is ideal for me because I use a lot of gel pens for embellishments. Because of that nice, impermeable burnished surface, the gel pens stay on top of the art and don’t soak into the paper so I get cleaner, sharper dots, lines and squiggles. This also means it takes a little longer for the gel to dry (because it essentially floats on the surface), but if you have a heat gun, just run it over your work on low for a minute and that usually does the trick. Just don’t let the heat get too close to your work or you can burn it. And that can be heart-breaking.

Don’t burnish anything until you have all your colors down–once burnished, it’s nearly impossible to add any more pencil layers because burnishing literally smashes all the tooth of your paper–compresses it down to a slick, flat surface. That’s why the colors look more saturated. Once burnished, the only thing I can add is gel pens, acrylic paint and Pitt pen (or other fine, opaque pens).

If you are anxious to burnish certain areas of your coloring (I get ahead of myself all to often), be especially careful when burnishing colors next to empty spaces that you plan to color (or add more color to). Especially with the Blender Bright because it lays down a layer of wax that is nearly impossible to color over. In theory, you could use a workable fixative spray over the burnished areas to add more pencil layers, but I have not tried that myself. I rarely use sprays since my studio is very small and am not too keen on asphyxiating myself.

When you have a little time, grab some scrap paper and give these techniques a try to get a feel for how they will work for you. I messed up a lot at first, but once I realized the steps (basic pencil base layers first, blending, finer details, burnishing, then gels if you like) I started to have so much fun and started to see much better results in my coloring. Burnishing is not for everyone (it is especially hard on your hands) but it can be very helpful to use a blender.

Hope this helps a bit, and as always, happy coloring! I am off to watch my daughter play some volleyball!

Silly old bear . . .

Ruby Charm Colors August 16, 2018

There’s a new addition to the RubyCharmColors Etsy shop and I really enjoyed completing the line art for this one. I had roughly sketched the bear months ago, but then it sat neglected in a folder on my iPad. A few days ago, I pulled it up and was inspired to finish it off for inclusion in my new set of books which will be offered on Amazon soon.

The Bear with Fish will be included in Volume 1, but it is also available on Etsy right now as an instantly downloadable PDF for coloring. Two pages are included in the file–the black line illustration and also a grey-line version in case you enjoy working with lighter lines.

Here’s a sample of the color test I did of this design – it is still a work in progress and might be for some time since I’ve really got to get back to the books and finish them up for a September release.

I used a mix of Caran d’Ache Luminance, Polychromos, Prismacolor Premier and Irojiten pencils so far, plus Sakura Souffle gel pens for the dots on the fish.

I started with lots of light layers with the Luminance pencils, then worked in my Polychromos for variations in color and more blending. The Irojitens pencils were used to burnish and set my colors. When I have a chance, I plan to use Neocolor II pastels for the background.

From one comes many: a growing gallery of colorists

Ruby Charm Colors June 14, 2018

I’ve been thinking a lot lately about how one piece of art can multiply and transform into many different versions as colorists (people who love to color in coloring books) approach the same line drawing with their own color preferences, creative vision, tools, technical skills, and experiences.

The tools or media a colorist chooses to work with plays an important role in the overall appearance of a coloring. Some colorists like to mix things up and use not only a blend of different colored pencils, but also other media like watercolor, markers, chalk, gel pens, pastels and even eye shadow. Others prefer to stick with their favorite pencil brand. Either way, gorgeous results are within everyone’s reach— it just takes is time, practice, and a willingness to learn and experiment. And sometimes a little luck!

Lisa Duggan (below and here for a close-up) colored her version of Mice in Freesia using Faber-Castell Polychromos colored pencils. She tackled the background with a few layers of Tombow Dual Brush markers and a little more colored pencil over the markers. Marilyn Reading opted for a more limited choice of media and used Prismacolor colored pencils for her version of Mice with Freesia. To see more details of Marilyn’s coloring, click here.

Vanessa Black opted for Tombow Irojiten Colored Pencils, Printworks Super Soft Colored Pencils, and then Faber-Castell Pitt Artist Brush Pens for her high-intensity background. Click here to see the details in Vanessa’s piece.

Lora King used a mix of Hero and Holbein pencils. I don’t have great links to Hero and only one for Holbein (which can be hard to come by as far as purchasing goes). Lora also used Jane Davenport pencils and Prima watercolors, Tombow markers and even Derwent Artbars. For a closer view at how she combined all her media, click here.

Each version of the Mice in Freesia has its own unique feel, and different elements of the design are brought forward (or pushed back) through use of color, shading, pattern, and different applications of the media.

The next set of drawings are examples of colorists seeing past the lines of the original Insects illustration into completely new and original creative territory. Some may be worried by the idea of altering an artist’s work (and I have seen colorists on social media flip out on other colorists about how they don’t think it is okay at all) but I think it is fantastic!

I don’t mind being the catapult if someone has a vision they want to reach in their own coloring. If my work can inspire new ideas, then I feel I have accomplished something special. I include the simple black and white illustration above the work of Fumiko and Valencia (below) so you can see how they altered the original work to fit their individual visions.

Fumiko Tsutsui, coloring in the “Black Magic” coloring book, veered away from the simple circles and and created her own galaxy using the circles merely as guides for her tiny dots and stars. This gives her Insects a timeless, almost alien feel as they float through space. I believe Fumiko works mainly with Prismacolor and Irojiten pencils, but I am not positive. I believe she also uses Sakura gel pens to add embellishments. You can take a closer look at her work here.

Valencia Venter Van Zyl took her coloring of the same Insect design (but printed on white card stock) in a completely different direction by adding strawberries and roses. The way she approached the circles by adding borders and tiny flowers is reminiscent of an heirloom teacup saucer which gives the design a more antique feel. Here is Valencia’s coloring up close. And I am sorry I don’t which pencils or other media she used …

Hot off the press! I also wanted to share Allison Capelle’s version of Insects which she just posted today. Allison used all Polychromos for the insects and Caran d”ache Neocolors II for the background. She achieved an intensely saturated, jewel-like feel to her completed work (and you can view a larger version here).

All of these colorists have beautiful, individual approaches that bring the original art to new levels. As an artist, I find this very exciting and feel that there is a collaboration between creatives not typically found in other art forms. When we see a painting in a gallery, or a sculpture on a table, or view photos or films, we participate to a degree, of course. But not to the extent people interact with the art in the adult coloring book world. Colorists take the line art—the basic framework—and transform it through their own creative lens. They truly involve themselves—physically and mentally—in the art.

Adult coloring as a hobby is sometimes ridiculed for being childish, but those who ridicule may not be looking close enough to see the beautiful art that’s being produced by colorists around the world. And they may not understand the truly therapeutic effect putting a pencil (or other media) to paper can have. For me, coloring or drawing puts me in a state of focus I don’t find elsewhere. Keen focus. And at the same time, a state of catharsis. My mind feels clear and sharp, and overall I feel relaxed and more centered. A sort of yin and yang effect.

Sometimes I think that we are too bombarded by distracting “little bits” that throw us off track. Every waking moment. Cell phones are continually dinging at us, we see a flash of the “news” on TV or one of our other devices that barely scratches the surface of a story before jumping to the next “bombshell”, we read newspaper and magazine articles that are so short it’s a wonder anyone gets paid to write them. I sometimes worry that our ability to focus and think deeply about much of anything will someday disappear. So yeah, I get the adult coloring craze that surfaced a few years back, and those who dismiss or ridicule it are missing out. I think a lot of people crave something real and tactile—something they can start, see their progress, make their own decisions, hold in their hands and say “I did that.”

Coloring can be “mindless” but it can also be mindful.

This next batch of colorings (above) have unique qualities, too. Lisa Duggan colored two different versions of the Lion Fish design. Her first version (a close-up here), was colored in September of 2017, and she used Prismacolor and Polychromos pencils. In her second version (completed more recently), Lisa used Derwent Inktense, a little layering on top of that with Polychromos, and then added embellishments with gel pens. Click here for a close-up of Lisa’s second coloring. Her color choices for the Lion Fish and the background uniquely alters the mood of each version.

Lora King, fairly new to coloring on black, colored her Lion Fish (click here for close-up) from the “Black Magic” coloring book by using five different pencil brands—Pablo’s, Polys, Prismacolors, Irotijen, and Heroes—plus she experimented with chalk, Caran d”ache Neocolors II, Faber-Castell Pitt Artist Brush Pens, and a Zig Clean color brush. While chatting back and forth about the piece through social media, she expressed a little frustration about the learning curve when coloring on black (it is not easy) but I absolutely adore her Lion Fish and the rich, almost metallic pops of color she’s got going on. It almost looks like a painting!

Nateko used aquarelle pencils for her version of the Lion Fish though I am not sure if they were Faber-Castell or Staedtler aquarelles. You can view her close up here.

Again, the media we work with can make a huge difference in the overall look and feel of a piece. And I probably say this more than I need to, but never be afraid to experiment! Even if a coloring turns into a disaster, there were probably some useful skills learned in the process.

Here’s another set of colorings that beautifully highlight the variety of work being done by colorists working with the RubyCharmColors illustrations. This is Gazelles.

Lisa’s warm hues, blending of the sky with a few hazy clouds hanging in the air, and her coloring technique effectively brings us to the African savanna (see close-up) while Fumiko’s blue gazelles and and striped planet looks like a mystical scene from Avatar (here’s her close-up). On Instagram Lisa commented that Fumiko’s coloring looks like night photography and I tend to agree. Both colorings are uniquely beautiful!

Now this is pretty cool … same colorist, different versions of the original line drawing: one was printed in black while the other was printed at about 50% grey-scale. Colorist Beth Hovey told the RubyCharmColors group on Facebook that she used the Sun & Moon illustration as an art lesson for her granddaughter!

After coloring the black line version, she printed out the grey line version to help her granddaughter understand how black lines and gray lines can have an affect how a coloring turns out. She used the same color palette for each version—and even though she said the purple pastel chalk on the black line coloring was applied a little heavier—we can still see the nuances between the two different versions.

Coloring the grey line version (which I include with all of the PDFs I offer on Etsy as a bonus) puts more emphasis on shapes and colors and less emphasis on the sometimes heavy black lines themselves. Working with grey line versions can also make it a little easier to veer from the original design and add more of your own details since the lines are much lighter and easier to color over. And you don’t have to have a grey-line PDF to do this. Depending on your printer’s settings, you can can either choose “Greyscale” or even print at a lower “economy” setting which spits less ink on the page (if you have an inkjet printer). Laser printer? Not sure … but you can always poke around your printer’s settings and try a few experiments.

The next three images are from colorists Sandy Kinzer, Lucia Brown and Paula Leach, each working their own magic on the same image. Here, it’s all about the color combos. The simple butterfly design was offered as a freebie through the RubyCharmColors group on Facebook (you need to join and participate to get the freebies) as a teaser and as a practice run for the more complicated “Butterfly with Spheres” design that was released shortly after as a downloadable, printable PDF.

Sandy’s butterfly feels like spring with a lovely mix of pastels and a few bright colors we associate with the season of growth and awakenings. Lucia’s butterfly uses a pallet that is a little more limited, and her use of pinks and turquoise create playful, modern looking contrasts.

The close up of Paula’s butterfly in more muted tones above shows the metallic, glittery pens she used to embellish some of her detail work. Below is her coloring of the full version of “Butterfly with Spheres.” Her color pallet is intentionally limited and gives the piece a soft, romantic unified look.

Having a little time to think about colors before approaching a final piece can be helpful. And being able to experiment with different media on a more simple piece before committing to the final can take away some of the pressure, too. Not everyone is concerned about the final outcome (and that is perfectly fine), but there are a lot of colorists who are, and who want to keep learning and pushing themselves creatively.

Now how about these rabbits? Again, color changes everything! These three colorings below are of the Spring Rabbit illustration.

Lisa (close up here) used Polychromos pencil over her layers of Derwent Inktense, and also used Prismacolor pencils for the rabbit and flowers. Lora (close up here) used a mix of Hero, Holbein & Caran d’Ache Pablo pencils with Royal Talens Angora watercolors. Both colorists created compelling, balanced and lovely final pieces. Frankie used Conté à Paris Pastel pencils and Polychromos along with a white Posca pen to complete her beautiful rendering of Spring Rabbit. If you’d like to see a larger version, click here.

The Coyote & Fox illustration (below) is one of my favorites as it is one of the first I drew specifically for coloring book pages. Both Allison and Lucia approached the design with different visions—Allison and her Tombow Irojiten Colored Pencils created a mystical evening scene (close up here) and Lucia, using a mix of Derwent Colorsoft and Faber-Castell Polychromos pencils, created a brighter scene where the mandala-like “sun,” the fox and the leaves pop out of the background (close up here).

I can’t tell you how exciting it was for me to see these appear on Instagram when I was starting my Etsy business last year—so inspiring!

Horse with Flowers is a more recent drawing, and I have three colorings I’d like to share though I know there are more floating around out there. Betty Hung, a colorist and blogger (check out her beautiful and helpful blog about coloring here) used Chameleon pens and Colortone pencils in her beautifully balanced piece. Her blending of the background is soft and exquisite (zoom in here).

Alexandra used a wide variety of media including Caran d’Ache Museum watercolors, Luminance, Prismacolor, Faber-Castell Polychromos and a Wink of Stella to achieve her highly saturated coloring (close up here).

Below Betty and Alexandra is the Horse with Flowers colored by Sabine Juergenmeier. Sabine used gold watercolour for the background and a collection of different brands of pencils including Faber-Castell Polychromos to achieve a beautiful muted color pallet that almost looks like it was painted on a marble wall–a very lovely effect than can be seen more closely here.

Last but not least I wanted to share this collection of Luna Moth colorings. Not only are there wide varieties in color scheme, but also some departures from the original Luna Moth illustration that make each one unique and attractive. The process Betty Hung used for her Luna Moth is detailed in her blog, Color Art, and is worth a visit and subscription.

There are so many other colorings I’d love to include in this post, and so many wonderful colorists that I’d love to tip my hat to, but I’ve run out of time. I would love to do this again in a few more months, though, so keep those colorings coming, please use the #RubyCharmColors hashtag on Instagram, and please tag RubyCharmColors on Facebook.

I’d really love to see your work!

A big THANK YOU to all the colorists willing to share their work and joy of coloring with us all! Show them some love and give them a follow on Instagram!

Alexandra @addictedtocoloring

Allison Capelle @allisoncapelle

Beth Hovey @bethhovey

Betty Hung @colorartbybettyhung / https://colorart.ca

Frankie Davis @francesmarionz

Fumiko Tsutsui @fumiflying

Lisa Duggan @duggan.lisatide

Lora King @dukewife

Lucia Brown @kindacolouring

Marilyn Reading @mzreading

Michelle Caraway Herren @gizmokids

Nateko @nateko

Paula Leach @pstonecolors

Sabine Juergenmeier @sabinejuergenmeier

Sandy Kinzer @sandrafkinzer

Valencia Venter Van Zyl @valencia_van_zyl

Vanessa Black @vmblack68

Ruby Charm Colors Horse with Flowers illustration

Take 2 (or 3) of the flowered horse

Ruby Charm Colors April 10, 2018

I’ve probably colored this horse illustration (which I designed as a coloring page) at least three times now, though I’ve finished none. Yet. I get sidetracked with new projects and once set aside, a colored illustration might not see the light of day for months. But I do like to experiment with different color schemes and I use the partially colored pieces in various marketing efforts, so the work is never wasted. This one might end up on a tote bag or some other product if it turns out the way I am hoping.

I printed this horse on charcoal tinted card stock (not quite as dark) so I could play with some warm colors. I am still patiently waiting for warmer weather, green grass and yard work in a t-shirt. April has been especially cold so far and I am feeling it.

My first step for this piece was to use my Holbein Naples Yellow pencil to lightly fill in the body areas of the horse. Just one layer to help define the spaces around the flowers, leaves and mane before using a little Holbein Salmon Pink to build up my base (video below). After that, I grabbed a Caran d’Ache Luminance Yellow Ochre to add a little more pigment to these areas.

Once I had the body a little more defined, I started adding more Luminance Yellow Ochre, Raw Sienna and Orange to the horse’s face using small, light circular motions and feathered strokes. In some ways, taking pics of this process with my iPhone can be helpful because the lens catches all of the pencils marks so you can see how “rough” the coloring looks at this point.

I didn’t do it in this video (because I was afraid I end up with a chaotic recording) but I move my page around. A lot. When I rotate my page, it helps me color at slightly different and over-lapping angles and this, ultimately, helps to not only blend but also fill in some of the black spots that appear under the pencil layers. Not sure how you work, but I find taping my art to a board is too constrictive.

You can see, in the photo below, the difference between my first layer of Holbein and the face where I am starting to build my layers. I used Luminance Alizarin Crimson along the inside edge of the swirl on the cheek and worked some of it up into the areas under the mane, then started blending with more Orange as well as Yellow Ochre and Raw Sienna. Luminance Buff Titanium was used at the tips of the ears, along the lightest edge of the cheek swirl, around the eye, and also in the lighter areas of the nose. I like the Luminance Titanium Buff over the White pencil since it seems to naturally blend better, but when I really want a white to stand out, it’s hard to beat Luminance White.

One note about the paper. It is Recollections brand from Michael’s and I pick up packages of 50 sheets when they go on sale. They offer both solid color packs as well as mixed collections. The charcoal grey I am using is from the Architecture collection. It handles most of my pencils fairly well, though I have noticed differences in tooth between different Recollections color collections. Mostly consistent, but not always–just an FYI.

The good news is that this paper is acid and lignin free meaning there are no chemicals that will eventually cause the paper (and consequently your artwork) to deteriorate. If you are coloring just for fun, using paper that is acidic or contains lignen is probably not a big deal … but if you want your work to last over the years, always look for “archival” quality paper or stock (meaning it is acid and lignen free).

After I warmed up the horse’s face with about six or seven light layers of yellows, orange and red Luminance, I worked with Polychromos Dark Chrome Yellow, Cadmium Orange, Orange Glaze and Middle Cadmium Red is small light circles “pushing” the Luminance pigments deeper into the paper. Oh, and a Derwent Studio Burnt Carmine pencil for the darkest edges. It is a brownish-purple-red tone that really helps to add depth in the more shadowed areas.

Funny how we all seem to have a collection of serious go-to pencils … I love all my pencils but my “can’t live without” and “worn to a nub quickest” pencils are as follows:

Caran d’Ache Luminance Titanium Buff, White, Olive Brown 50%, Yellow Ochre, Sepia, French Grey (I get mine through Blick, open stock)
Caran d’Ache Pablo Mouse Grey, Hazel (open stock, Blick)
Irojiten Black, Verdi, Cactus, Crimson, Indigo, Eggshell, Turquoise
Verithin Black
Prismacolor Tuscan Red, Light Aqua, French Grey, Pumpkin
Holbein Naples Yellow
Polychromos Chrome Oxide Green, Olive Green Yellowish, Cobalt Turquoise, Dark Red, Bistre (I get these through Blick, open stock as well)

There are probably a few more I am forgetting, but these pencils get used a lot due to their colors, but more because of their ability to blend and define the way I need them to.

One interesting thing I have noticed about colored pencils is that after a period of “rest” (and I know this sounds crazy), it is easier to add new layers. My theory is that after a few hours or so, the waxes and oils from the pencils on the paper somehow relax (or more fully attach to the paper) and it becomes a little easier to apply new colors. I tried to find out if there is something to this, but didn’t spend much time searching on Google. Has anyone else noticed this phenomenon?

I then started working on the leaves and mane (below) using mostly greens: Luminance Olive Yellow, Olive Brown 50%, Olive Brown, Moss and Dark Sap Green. I also used a little Spring Green at the tips. Again, very light layers and not a lot of concern about “perfection” yet. My layers are starting to blend a little (see photo below), but you can still see a lot of strokes and where I started using the Luminance Prussian blue in the darkest areas. I used Prussian blue instead of black (or Dark Sap Green) because it adds a more rich and varied tone to the piece overall. It also contrasts nicely with the warm hues. Using the Irojiten Indigo pencil in the deepest areas adds a little more definition, and I plan to go back to those areas before the piece is finished.I used my black Verithin pencil to start adding some definition to the eyes, swirl, nose and mouth features. I’ll likely go back to those lines at a later time, too.

I couldn’t resist adding a little Prismacolor Light Aqua into the small circles on the mane because I love the way it looks with green–a nice little accent of color. The next step was to start filling in the flowers. I knew I wanted to work in some purples and almost went with a purple and blue combination, but decided to stay true to the warmer hues (aside from the turquoise accents). I tested a few colors on the back of my paper and fell in love with how Prismacolor Black Cherry, Tuscan Red, Crimson Lake and Pumpkin Orange worked together.

I put down a light layer of Black Cherry (which has a purple tone) and then graduated layers of the other three colors to the tips of the petals. Still not blended yet and that’s especially apparent in the harsh light of the iPhone. To really bring out the purple and give the innermost parts of the petals more depth, I used Irojiten Mulberry and Iris Violet pencils to start pushing my colors together. At this point, I try not to apply too much pressure with the Irojiten pencils. They are pretty hard, and if I use too much pressure, burnishing occurs. This is fine in the final steps of my coloring process, but since I may come back to the flowers with more layers, I am not yet ready to burnish (which can really lock in a layer and make it almost impossible to color over unless you use a fixative which I don’t do).

Now that I’ve got the basic colors of the flowers colored, I go back to the yellows in the body. Basically, I just refine the yellows with more layers and add a little more orange so these areas don’t end up looking too flat.

I also used my black Verithin to add filament lines, and Luminance Olive Brown to add a quick layer around the center circle of the flowers. Prismacolor Pumpkin was used for the centers. It may not see like it makes much of a difference, but a little squiggle of Irojiten Crimson along a few edges of the Pumpkin add a little depth and interest. And to balance out my accent color, I used the Prismacolor Light Aqua again for the flower anthers. Here is a close up:

The video clip below shows how I use the black Irojiten pencil to define the leaves a bit (the Verithin black works too). I never realized, until I started recording myself coloring, how I continually spin my pencil as I color. For certain areas, it’s important to have a sharp point, so I think I do this subconsciously in order to avoid dulling my pencil tips. In addition to defining the leaves, I used Sepia and a little Prussian Blu (both Luminance) to create more shadow around the belly and legs. And a little black Irojiten to further blend.

When people talk about the Caran d’Ache Luminance pencils being creamy, I don’t see it. These oil pencils are highly pigmented and fabulous, but I feel they are more gritty than creamy. And this is good and serves a purpose as they can help blend by breaking up the waxes from other pencils and move them around on an almost microscopic level. I’ve noticed I really love the way they behave on certain papers while on others, they tend to be a little more temperamental. Especially when combined with more waxy pencils. And it’s hard to predict so experimenting is key. When I am working on a new paper (or on the same paper but from a different batch), I always test out how different pencil brands will (or will not) play together first. Most mistakes can be fixed, but I have made of mess of things enough to be a little more careful. Ever have an area you are coloring turn to a glob of colors that refuse to blend and just clump up? No fun.

After I defined the leaves a bit, I grabbed my Rotring Isograph technical pen and realized it was almost empty. I wanted to use it around parts of the flowers, but had to do a refill first. Always a messy job:

Post pen-filling: I am not too happy with the results –my lines look too harsh (especially in photographs) but I can probably fix that and do a little more blending with the Mulberry Irojiten pencil. No worries–I’ll go back to it later.

Instead, I grabbed a white Soufflé gel pen (Sakura) to add dots to the anthers and a few on the horse’s face, and blue and copper metallic gel pens to add dots around the centers of the flowers. And a few Sakura Soufflé turquoise dots to the mane…

The art doesn’t look as harsh in person. Anyone who has tried photographing colored pencil on a dark background (especially when there are metallics involved) knows what I am talking about. I don’t have the right lighting in my studio and I get a lot of glare. I keep a few small gooseneck lamps on my desk and am constantly moving them around to get the best light when I am coloring, but have to turn them off when I take pictures. Someday I’ll get that all figured out.

I can’t imagine coloring on anything other than this old artist board (below) I bought back in college. I keep a small brass sharpener in a dish handy, as well as a brush to flick off any junk that lands on my paper and keep the wax bloom at bay.

Once I have a bunch of pencils I’ve pulled out of my cases to work with on a given piece, I store them in a tin drawer so I can keep track of them when I come back to the drawing. I used to write my colors down, but I don’t anymore.

Here is where I am leaving off on this piece for now. I have plenty more to do and will post a follow-up when I have a chance. For now, off to book work and and other tasks that need my attention…

Please feel free to leave questions or comments –I am always curious to learn how others tackle their art and channel their creativity, and no question is too silly. I may not have the answers, but I’ll give it an honest try.

Cheers to art!

Bo Dog and the Moon

Ruby Charm Colors February 7, 2018

Bo Dog and the Moon, colored pencil

“Bo Dog and the Moon” is based on an old pencil sketch I did of a canine companion I had years ago. He was a floppy, bumbling (150 pound) Anatolian shepherd. Bo lived with me in my car for a summer while I collected data for research on birds in the Sleeping Bears Dunes National Park. Yep, I’ve had my share of odd (but always interesting) jobs!

Bo (Mr. Bojangles as he was originally named when I adopted him) loved to swim in Lake Michigan, and sometimes at night we’d hear the coyotes yipping.

The artwork above is a piece I colored with a mix of watercolor pencils and colored pencils–mostly Staedtler Aquarelle (a very old set I bought in Gaborone), Caran d’Ache Museum and Luminance (I only have a few but wow do I love both of these pencils), another favorite, the Faber-Castell Polychromos, Prismacolors (tried and true) and Irojiten (beautiful pencils made by Tombow). This piece is about 8 x 10″ on card stock. I almost always do what I call a “color test” on each one of my designs created for coloring books because I want to make sure there are no issues that can trip up a happy coloring experience for those coloring my art. A black and white illustration of Bo Dog and the Moon is included in my first coloring book for adults, and I also created a downloadable, printable page for coloring as well.

The design, now digitized and modified a bit using the Procreate app and Photoshop, has found a home on a number of different products through my Ruby Charm Colors Threadless shop. There are spiral notebooks, pillows, blankets, water bottles, bags and lots of shirt designs.

A “Color Your Own” version of Bo Dog and the Moon is also available as a soft-cover, 120 lined page, 6” x 8” spiral notebook that can be colored with your own favorite colored pencils, pens or markers. The tote bags, great for daily errands, shopping, hauling art supplies, or even using as a special gift bag, can be colored or painted by you or others as well. Bo Dog and the Moon is printed on both sides, constructed of 100% spun polyester with cotton web handles, lined with black fabric, and available in three sizes: 13” square, 16” square and 18” square.

This past summer, I transferred my Bo Dog image to the back of a denim jacket and after painting blocks of color in acrylics, started embroidering and a sewing on beads and metal studs. The jacket is almost finished (just need to add a few final touches and sew in a cotton lining) and it’s ready to wear. Here’s a close-up of part of the jacket:

Lots of options if you are interested in adding “Bo Dog and the Moon” to your home or wardrobe!

purchase here: Ruby Charm coloring book coloring page home goods, clothing & accessories

All Threadless items come with the Threadless Happiness Guarantee!

The black & white illustration this design is based on was originally drawn by the artist, Susan Carlson, for the Ruby Charm collection of coloring pages and books for coloring enthusiasts.

Learn more about the artist’s process

A Valentine Gift for You!

Ruby Charm Colors February 4, 2018

Hello! It’s Superbowl Sunday and I’ve been working on a special gift for the fabulous people I have met through Instagram, Etsy, and Facebook – an original Ruby Charm Colors Valentine Butterfly drawn especially for you to download and color–no strings attached! It’s the best way I know to extend a sincere and heartfelt thank you to everyone who has supported me along the way this past year. Your kind words and willingness to answer my questions, talk about art, and purchase my books, illustrations and other creative projects, help motivate and inspire me to keep moving forward and creating new illustrations, paintings, and even beaded and embroidered projects.

So thank you!

If you are new to my art, this is a great opportunity to take it for a test drive and play with a little color. I recommend printing on card stock (if you have it) and be sure to check that the image “fits on the page” in your printer settings. If you need to take the PDF to an office supply store or printer, you should be able to save the PDF file to a thumb drive. And because this is a vector image, you can print this illustration on larger sized sheets of paper if you have the means.

All of the illustrations I sell through my Etsy shop include a complimentary grey-line version of the artwork, so you’ll notice the PDF is two pages long. I am growing very fond of the grey-line versions as they allow me to focus more on my colors and shapes and less on the black lines when I color. Having both versions gives us more options.

I originally sketched this botanical butterfly and heart on my iPad Pro with an Apple pencil on Saturday, and used several layers to create a clean black line drawing. I then pulled the black & white illustration into Adobe Illustrator to create a vector file, and to create a grey line version, and then saved both into a PDF just for you. The whole process, from rough sketches to final product, took about 10 hours. And then I printed a copy and started playing with a little color … because I can’t help myself.

Actually, those who know me and my work know that I typically “color-test” each one of my illustrations before letting them go to their new homes. I like to be sure the designs are workable, and that there are no glaring mistakes that can mess up an otherwise enjoyable coloring experience.

For this coloring, I used a mix of Caran d’Ache Luminance and Pablo, Holbein (generously sent to me by a coloring fan!), Irojiten, Polychromos and a few Prismacolors. And then added small embellishments with Sakura Souffle gel pens and a fine black Faber-Castell PITT pen.

The coloring is still a work in progress, but if you would like to give this butterfly a try, you can download the Valentine Butterfly PDF here.

Please note: This illustration is (c) by Susan Carlson (Ruby Charms Colors) and is for personal use only. You may print and color as many personal copies as you like, and use your colored pieces as gifts or valentine cards, but the art may not be distributed, sold or used commercially in whole or in part without my express written permission. Thank you.

After you print and color the Valentine Butterfly, you may want to check out my other coloring pages and book available through my RubyCharmColors Etsy shop.

Thanks so much for supporting an independent artist! –I sincerely appreciate it!

Best,

Susan

black paper + black ink = color pop

Ruby Charm Colors January 7, 2018

“How did you get those colors to pop like that?” Ive been asked that question countless times, and I can say in all honesty that it’s not so much my skills as an artist, but my willingness to experiment with different colors and pencil brands.

While putting my first coloring book together this past July, I purchased a few packages of tinted card stock from Michaels (the “Recollections” brand) so I could include a few of my illustrations on pale blue and brown paper. It was an experiment inspired by an drawing I did of a Lion Fish since, yep, the ocean is blue. Some of the packages I bought included sheets of darker charcoal and black card stock. When I had a little time to color, I printed my Little Bird design on charcoal just to see how it would look. And wow was it fun to color!

I posted my work in progress on Instagram and my followers seemed to love it, too. They inspired me to keep going, and I eventually created a Black Magic coloring book. I knew I would not sell a lot of copies (especially early on), but I wanted to make it available to those brave enough to try–and there are some courageous souls out there from the US and Canada to Germany, France and Malaysia. (And it’s pretty cool to know my illustrations are being colored around the world.)

It took a little experimenting, but I found that certain pencil brands and colors worked better on darker papers than others. For Little Bird, for example, I used mostly Prismacolor and Faber-Castell Polychromos. A light layer of Prismacolor Light Aqua allowed me to build up a few darker shades on the body and wings, like Prismacolor Aquamarine, Electric Blue, Peacock Blue and Indigo mixed with Polychromos Prussian Blue, and Cobalt Turquoise. I also mixed in several green, French grey and brown hues.

The white pencil from the Caran d’Ache Luminance series (and no, I can’t afford the entire set, sadly) is one of my favorite, most used pencils. As with most of my pencils, I order them from Blick individually as needed and usually keep a few sharpened and easy to grab on my desk. They work very well to “pull up” or lighten areas I want highlighted, and they also work well to blend colors (but with a whitish cast).

If I don’t want a whitish or chalky cast when I blend larger areas, I’ve found that my Irojiten pencils (which are fairly hard) work very well–especially if the color I choose is slightly darker (or lighter) than the colors I am trying to blend. Using similar shades can really saturate or intensify the colors, and if I color with a lot of pressure (but not enough to snap a pencil tip) the Irojitens work great as burnishers. And I adore the smoothness of the black Irojiten pencil (which I order individually through Blick) for working in shadowed areas.

The big take-away here is to experiment. And don’t be afraid to screw something up! It’s going to happen now and then, so just embrace your mistakes as opportunities to learn something new about the tools you are using and what it is you want out of your coloring.

I don’t typically plan out all the colors I want to use in a given piece, but I do have a “feel” for what I am going for overall. And I very rarely end up there because the colors sometimes make the choices for me as I work. But that’s okay! When I am using dark paper, I try the colors I want to use on a duplicate print out of my illustration on the same dark paper. If one brand of the color I want does not lay down enough color, or just doesn’t show up as well as I’d like it to, or looks crappy next to another hue, I try another brand or another shade. I don’t have as many colored pencils as many of my fans do, but I do experiment. A lot. My desk is littered with scraps of paper with little scribbles of color on them.

Another key to working with black ink on black (or dark) paper is to have really good lighting. I have a small OTT light and an older halogen light I keep on my desk. Both have bendable necks that I can twist to just the right angle to see my lines. The lines on the Little Bird illustration weren’t too hard to see, but on black paper (like the card stock I used for my Black Magic coloring book) the lines can be very challenging to see–especially for some of my more highly detailed designs. The coloring I started of Ruby Charm herself (below) was done on the same card stock I used in Black Magic and, as you can see, is quite dark. Using a white Verithin pencil to lightly trace over detailed lines that are difficult to see can help quite a bit. As you color, those white lines will be absorbed, so don’t worry.

Below Ruby Charm is a sea lion I colored on charcoal tinted card stock.

Finally, I add a lot of my smallest details with a fine-tipped black Faber-Castell PITT pen (to carefully emphasize some lines and dark areas, and a small collection of Sakura Soufflé gel pens for dots. I like the Soufflé pens because they are matte and photograph and scan better than metallics or glitter pens do. The beauty of purchasing, downloading and printing any artist’s coloring pages (I am a big fan of Etsy for this!) is that you have control over not only the paper quality (which is a huge issue for many colorists) but also the color or tint of the paper itself. And if you purchase pages through Etsy, you are directly supporting an artist!

If you have a computer and printer, all you need is a free version of Adobe Reader to download and print your files. Check your local craft and office supply stores to see what they carry in regard to card stock, and don’t be afraid to play around!

Coloring on darker papers can be very challenging, sometimes frustrating and time-consuming, but it can also be unusually rewarding.

my coloring process

Ruby Charm Colors August 2, 2017

I’ve had a number of people ask about my coloring process, and now that my RubyCharmColors Etsy shop is up and running, I have a little time to devote to a new post.

I basically follow a two-step process. First I use watercolor pencils (and blending with a water brush)–and then step two–light layers of regular colored pencils on top of the watercolors. It is a technique that works well for me though I am still experimenting and playing around with it. Not everyone will want to devote a substantial chunk of time to a coloring page, and not everyone will like the same technique I use, but in the spirit of turning adult coloring pages into an art form, here’s how I do it …

Some of my favorite tools I keep handy when coloring

TOOLS

Before we jump into process, I thought it might be useful to talk about a few of the tools I rely on. First, I like to work on a decent illustration board. I have two (one large, one small) from my art school days and am glad I never got rid of them. The surface of a good illustration board is very hard, smooth and shouldn’t scratch. Coloring on a surface that is scratched or dented can make your pencils skip and it’s hard to get a nice even layer of color.

Another thing I appreciate about a good illustration board is that I can write notes on it with a pencil (if I need to remember which colors I am using) and I can test color combos on it, too. The board can be easily cleaned with a damp cloth and a little soap between projects. Sometimes I tape my work to the board, but since I like to move my paper around to work on different areas, I only tape it if I want to set it aside for another time. My smaller board (pictured above) has a few eye screws on one side so I can hang it up and out of the way when I’m not working on it.

I also can’t live without my pencil books. I have 4 of them (two for watercolor pencils and two for regular colored pencils) so I don’t have to use the tin and cardboard boxes some of my pencils came in. Aside from keeping everything organized, they don’t clang around and there’s less of chance I’ll knock the boxes off my desk and risk cracking the leads inside the pencils. The tin boxes are attractive, but they make a horrendous clatter when they hit the wood floor. There are a few nice cases out there, but I settled on the zip-up “books” made by BTSKY and Soucolor (and ordered them through Amazon). No issues yet, and I use them a lot. Grey for my watercolor pencils and black for my regular colored pencils.

A good pencil sharpener is a must. I have an electric X-ACTO (great for new un-sharpened pencils) and a small brass sharpener. I’ve had it forever and have no idea where it came from. I use the brass sharpener the most because it gives me a fine point without chewing up too much of the pencil.

I also keep a small brush handy for keeping my page free from little chunks of junk that accumulate while I work. I don’t like to brush the paper off with my hands because oil and sweat can make the paper less receptive to the pencils. I also use (at least when the weather is bloody hot) one of those funny-looking artist gloves so the side of my hand doesn’t stick to the paper and smudge things up. I originally got one for working on the glass surface of my iPad. Cooler months aren’t bad, but when it’s hot, I can’t drag my hand across any drawing surface without it sticking. No fun. And not good for smooth lines.

Because I use watercolor pencils for the first layer of color on my drawings, I also use a few different water brushes. They have a reservoir that holds water and slowly releases it as needed. If too much comes out, use a tissue to mop up the excess–and if not enough comes out, give the reservoir a little squeeze. These brushes allow me to control how much water I use, and since the bristles are fairly stiff, they work really well for blending the watercolor pencils in a very controlled manner. I have two Pentel Aquash water-brushes and a few from Derwent and Kuretake. I honestly don’t have a favorite brand at this point but choose based on tip size in relation to the area I am working on. Okay, well maybe the Kuretake has the best fine point for really tight areas.

STEP ONE: WATERCOLOR PENCILS

Below is a close up of the coyote I’ve been working on recently (a grey-line version of my Coyote and Fox illustration) printed on grey card stock) with the first rough layer of watercolor pencil. It looks a little sloppy, but that’s okay. It will all come together.

I used French Grey (my go-to color for nearly all of my work) and Night by Caran d’Ache (Museum Aquarell‘s which are dreamy to work with); Faber-Castell’s Albrecht Dürer watercolor pencils (Warm Grey, Nougat and Bistre); and Blue Grey 68 by Derwent. As mentioned, I don’t have full sets of any of these pencils. Instead, I order individual pencils as needed through Blick or pick them up in stores. Blick usually has decent prices and it is a reliable company, and buying specific pencils instead of full sets helps me avoid collecting colors I may never use.

Once I have filled in areas with the dry watercolor pencils, I use a water-brush to blend my first layer. The wet brown stripe in the middle of the photo above was worked with a fine point Pentel Aquash water-brush. Instead of “painting,” I think of it as gently “scrubbing” the color around … but not so hard the paper loses it’s integrity and falls apart. There’s nothing worse than creating a big ugly hole in the paper–especially if you have a good portion of a piece completed. I’ve done it enough to learn my lesson. Be gentle with purpose.

If you want to try this technique, practice a few times on scrap paper so you get a feel for your brand of watercolor pencils, your brush, and how they all behave (or misbehave) on the paper you will be using for your final piece.

I work in fairly small, controlled areas. Above, you can see where I started blending the brown swirl shapes. Working on small areas at a time allows the water to dry faster and keeps colors I don’t want blended together separated. As one area dries, I tackle a new one until I have finished with the watercolors.

Below, you can see where I’ve moved into the blues and added some Derwent Inktense Sea Blue and Deep Indigo. Watercolor pencils play nicely with one another, so if after blending an area you want more color, just sketch a little more on top and get it wet again. I prefer to add layers after the paper is dry, but a watercolor pencil on wet paper can produce lovely effects, too.

Things still looks a little sloppy at this point, and that’s fine. Before I started using colored pencils over watercolor, I was a lot more precise applying the color before blending with water. On their own, watercolor pencils produce a beautiful look. But since I will be adding a few layers of colored pencil over the top, I think of this as a simple under-body or base layer of color to build upon.

Why go through the trouble of laying down this watercolor base layer?

I have found that it gives the paper a really nice, faintly “gritty” texture or “tooth” that my colored pencils really seem to love–especially on smoother types of paper and card stock. The key is to make sure the paper has dried before grabbing your colored pencils.

Small, self-contained areas are pretty easy to work on because they have a definitive start and end point (such as the brown lines on the coyote’s rear and neck). Where it gets tricky is where there are larger areas that move from one color to another (behind the ears all the way to the back, tail, and part of the legs). I’ve had to learn to work fast. I typically “scrub” quickly in small circles, but sometimes I pull the brush along the edge of a border to get a larger area damp. Then my circular strokes are used to scrub those colors around and blend them together. If some of the areas look a little splotchy, don’t worry. The colors usually even out as they dry, and if they don’t, the colored pencil layer will eventually blend it all together.

My best advice? Play. Experiment! One of the great things about having digital copies of an illustration is that you can print out a few on different types of paper and play around with techniques and different color pallets before committing to a final piece. And … if you royally screw something up (I’ve done it plenty) you can print and try, try again.

While all of the areas I have water-colored are drying (it should not take long at all), I put my watercolor pencils away and pull out my regular colored pencils. I try not to mix them up because it really stinks when you color a whole area and hit it with water only to realize you hadn’t used a watercolor pencil. And watercolor pencils don’t work very well over regular colored pencils because of the waxes and oils in the colored pencil leads. They can, if thick enough, repel water. So I try to keep my pencils types separate.

COLORED PENCILS

The pic above shows the coyote with all the watercolors blended and a start (on the belly) with regular colored pencil layers. Adding light layers can give your work a lot more depth, vibrancy and definition.

I like to use the softer colored pencils (Prismacolor, Faber-Castell, Caran d’Ache Luminance and Pablo, and Bruynzeel) for the larger areas and I work with a light touch and try to avoid coloring in the same direction. Light circles or tight cross-hatching works well. Sometimes the layers can get a little too thick and an annoying “chunky” build-up can occur. It happened with some of the sepia (see pic below) I was using to the left of the big white star. Too much build-up from being a little heavy-handed in that area, whoops.

Some of the sheen in my photos are a reflection of the wax in the pencil leads and appears when you apply a lot of pressure, or go over the same area quickly back and forth. Burnishing, as it is often called, can be a great way to deepen colors and set them, but you can overdo it so be careful. Once I have my softer layers of pencil down, I then use my harder pencils (like Tombow’s Irojiten pencils, the Verithins by Prismacolor, and Derwent’s Studio pencils) to carefully carve in sharper details. I used black, Tuscan red and indigo Verithins to define parts of the coloring below.

I also like to use the Caran d’Ache white Luminance pencil for all of my brighter highlights. It seems to give me the best coverage of all the white pencils I have. A little pricey compared to other brands, but for a responsive, reliable white pencil, I think it’s worth the price. Most of my white pencils barely show up when applied over other colors.

One tip about whites … if you want a bright white to appear over another color, always color that area with your white pencil first. Next, work your other colors around it and right up to the white. And then, hit the white area with your white pencil again being conscious of pushing from the white center toward the other color(s). If you pull from the other color(s) into the white, you’ll get more blending (and not a brighter white).

I find that I can blend and burnish colors together pretty well with the Derwent and Irojiten pencils as a final top layer. I usually use a shade or few lighter than the color I am working over. For instance, on the brown and taupe colored areas of the coyote, I used Irojiten’s Pigeon Grey, Chesnut and Eggshell to “set” the final layer over the Prismacolor and Polychromos French Grey and Bistre. I’ll do the same with the blues. Irojiten Indigo over Polychromos and Prismacolor Indigo for the darker areas, and maybe Irojiten Midnight Blue or Kingfisher for the medium blues.

As a side note, I have found that the Irojiten Eggshell pencil has become a favorite go-to for blending many different colors–it’s light enough to pick up the color of the layer underneath without muddying things up and it’s hard enough to push the colors together.

And there is a push and pull when it comes to working with colored pencils …

Below: slowly working more colors. I think I had about 2 or 3 hours into the coyote at this point. I realize not everyone wants to spend this much time on a coloring project, but I really enjoy the process. While I love to see the final product, it’s the act of choosing the colors, working the water and the pencils, and having time to focus on something tangible and tactile. An escape from all the screens virtual everythings.

The bottom photo shows the final layers of colored pencils, plus a few details that make the image pop. I like using the Sakura Pen-Touch paint pens to add small dots (be careful you don’t smudge if you try this – paint pens take a little time to dry). I also go in with a black waterproof Faber-Castell PITT pen to add dots and lines, or sometimes just to darken areas that got a little covered by pencil marks (like the coyote’s eye). Gel, metallic and glitter pens are fun, but I don’t use them much anymore because they don’t photograph or scan well.

I also try not to feel restricted when it comes to following the original design of any page (including my own illustrations for coloring) and often add in new details like the oblong white and grey shapes on the tail.

Here is the same coyote I tested out with color after my original black line drawing was complete and converted into a vector for printing. It was printed on white card stock (instead of the grey-scale lines on grey card stock for my current coyote). Not sure which one I like best, but they were both enjoyable to work on.

I hope some of the information about my process and techniques can be useful to you. Again, my approach isn’t for everyone, but hopefully it inspires you to try something new. Don’t be afraid to take your time and push your creativity to the next level. I am always trying to learn–always thinking about ways to improve. And while my own relationship to art (and now coloring) certainly provides relief from stress, art is also my passion (and can surely cause stress at times).

Isn’t that the Yinyang of life? 😉

I’d love to hear from you if you have questions, comments, or techniques you would like to share!

UPDATE: I now have six pencils cases – seems my pencil collection has grown a little. I am sure some of you can relate to this! 😉

rubycharmcolors

Tag: prismacolor

A few thoughts about pencils, blending and burnishing

Like this:

Silly old bear . . .

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From one comes many: a growing gallery of colorists

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Take 2 (or 3) of the flowered horse

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Bo Dog and the Moon

The black & white illustration this design is based on was originally drawn by the artist, Susan Carlson, for the Ruby Charm collection of coloring pages and books for coloring enthusiasts.

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A Valentine Gift for You!

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black paper + black ink = color pop

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my coloring process

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The black & white illustration this design is based on was originally drawn by the artist, Susan Carlson, for the Ruby Charm collection of coloring pages and books for coloring enthusiasts.

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