First things First.
So, you have your colouring book and materials. What next? Well, just start colouring! Once you start, there is nothing wrong with using any chosen colour to apply to any chosen image, by any method. As with most things it is an advantage to understand a few well defined colouring guide lines.
Each of the following entries will provide insights as you venture into the world of colouring books.
COLOURING MATERIALS (or medium)
Pencils
When I started colouring I used any pencils laying around the house. I didn’t know there were different types of coloured pencils. In most cases there was nothing on the pencil to indicate what type it was.
So, it was trial, error, with some puzzling and disappointing results. Eventually I went online to see what was available. I then opted for new pencils of my choice knowing what to expect from them.
Oil, Wax, or Water pencils?
There are three types of colouring pencils, the least expensive option being wax based.
Wax Pencils:
Wax pencils are called ‘Prismacolour’ (having wax blended into the pigment as a binder). Wax pencils perform well, but do require patience in order to build up colour, (layering). Wax based are generally softer than oil based and as such can break when being sharpened. They also will not hold a point for long. Unless you are an experienced colourist, wax based are probably the best all round for use with colouring books.
Oil Pencils:
Oil based pencils are called ‘Polychromous’ (which is an oil blend added to the pigment).
Oil leads are harder and will maintain a point more readily. The pigments blend more easily with each other and produce an intense finish to the final work. On the other hand, oil based pencils require practice to use effectively and may not be suitable for beginners. They are also more costly.
Watercolour Pencils:
(Or, water-soluble pencils) are versatile and can be used dry or wet. When using this medium as a wet application, the colourist lays down the dry pigment then follows with a damp paint brush to achieve the required watercolour effect. However, being water based I have not found this medium best for colouring books as the pigment will bleed through the page and the page may crinkle.
​​Note:
There are also pastel pencils which I do not recommend for colouring books as by their nature will smudge and lift from the page.
Marker Pens:
When first using markers, I experienced some frustrating results. This was due to poor quality pens, mixing different types of pen without knowing how the pigments would react. Some were old, worn, partially dry and damaged.
If you already have markers however, it’s fine to go through the process as I did above. It saves money and until you try, you may not know what you are looking for, so use what you have. However, once you become more experienced with colouring, it is a good idea to familiarise yourself with the different types of markers and their various pro’s and con’s.
​Types of Markers:
There are Gel Pens, Dual tip markers, Watercolour (water based) markers, Alcohol based markers and Brush markers. Each type will offer a different experience.
Initially the range of choice can feel rather intimidating, regarding the number of colours, their vibrancy, the type of pen tip (fine, medium point or brush). If products specifications and usage are not clear, in most cases you will find users feedback online regarding how smooth and consistent a product is.
It is probably obvious, but I recommend buying the best product for your budget.​​
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Experiment:
If you are new to colouring, it is a good idea to experiment by using your pens and pencils on spare pieces of paper or at the back of my colouring book to get the feel of how different mediums flow and how colours interact with one another.
IDENTIFYING COLOURS​
Colouring pencils and especially markers do not always represent the colour shown on the cap or stem of the medium. Also colour pencils will differ the harder you press. Again it is a good idea to use a spare piece of paper to test your colours. This will also show you if your pen or marker is scratchy or damaged before you apply it to the actual image.
Colour Swatch:
Creating a colour swatch will also help to identify the exact tone your chosen pen or pencil will produce. You can also use the swatch to show how a pencil can be applied when increasing pressure on the pencil nib, from soft to a hard which is called gradation (from light to dark). Some mediums have identifying numbers or name on the stem, but many do not.​
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I used very small sticky labels to number a pencil or pen corresponding to the number I had given to the swatch. This was not totally successful as some labels came off! So you may need to be creative. A swatch is not ‘a must,’ just useful tool to how you medium will perform.
Colour Palette:
The range of colours you use for an image is called a ‘palette’. For example you may wish to use five, six or more colours in a drawing, or, just a few complementary colours like red, yellow and blue. Many artists and colourists use a limited palette of only three or four colours.
Colour Wheel:
The science and history behind the colour wheel can become rather complex. Some artists, including myself, do not use it very often, if at all. I would however encourage you to have a look at the colour wheel below. This can be useful in helping you choose your colour for a specific image.
Also to grasp an understanding of the relationship between colours.
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Let’s use blue as an example, the colours each side of the blue on the wheel are colours that will complement the blue. Look directly across the wheel to the colour on the other side, and you will find the colour's opposite. In the case of blue you will find opposite orange.
I love to use colours in opposition to each other. The clash can sometimes be exciting.
For example in some artwork red and blue placed side by side may seem to alternate in prominence. However to mix opposite colours together will only create a muddy looking brown.
Pigment Bleed:
Don’t let your colouring damage the image on the next page.
This is mainly related to markers and pens. Colours may bleed through the surface of your image into the picture underneath. Place a sheet of A4 (or larger) paper between the two pages to stop any bleed spoiling the next image,
White Areas:
Leaving un-coloured white areas of paper has tremendous value in some pictures. You do not always have to colour each part of an image. White space can have a dramatic impact.
Layering with Coloured Pencils:
‘Avoid a HEAVY hand’.
Using pencils for the first time can be difficult as some pigments and colours barely show on the page. If you try to produce more colour by pressing harder you can ruin the image and damage the paper. Hard pressure will also crush the paper grain (called the tooth, more about this later).
Therefore, layer a colour in stages by gently applying pressure and gradually building up the tone by laying the colour over the top.
A different colour can also be added to the layer, but you should experiment first as some mixed layering may not work well.
Paper Grain, or Tooth
Art mediums such as paint, markers and pencils etc, adhere to a surface
by being captured in the surface grain called the tooth. Your colouring
book will have the required amount of tooth to allow for such layering and blending.
​The layering usually exposes the grain (tooth) of the paper which is characterised by fuzziness or a grainy finish. You may not be able to see the tooth at first, but when drawing lightly over the surface the tooth will be revealed, characterised as a fuzziness or a grainy finish.
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So, the tooth binds the medium to the surface. Once the tooth has been
repeatedly drawn over it will become flattened making it difficult to
apply any further colour, and in most cases will look shiny. If you draw
too hard with a pencil as you start colouring the tooth will become
damaged and will spoil the look of the final work.
‘So gently does it with your pressure’.
Burnishing (or Blending):
This is mainly directed at those using pencils. Basically, burnishing is where layers of colour are rubbed together smoothing the overall look. Sometimes the same colour to increase the density, sometimes another colour by blending it over the top. With practice, it is also possible to blend a lighter colour over
a darker one.
By burnishing, (rubbing) colours together the pigment will eventually saturate the tooth which will look creamy or waxy. Burnishing may sound contradictory to the statement ‘Gently does it’, so experimentation is the key with this method. Again use a spare piece of paper or the end papers of my colouring books. If you start to burnish an image without first experimenting, you may overwork the pigment, crush the tooth too soon and spoil the final look.
You may have come across a white pencil in your set which you can use for burnishing (blending, rubbing) the pigments together.
Markers
When using marker pens allow a colour to dry before using a new colour immediately next to it. It is with this medium that you will need to ensure there is no bleed through the page.
Holding Pens and Pencils
I’m labouring the term ‘Avoid a HEAVY hand’’ and gently does it, not just because of the damage that can be done to a page but also avoid any finger and wrist strain.
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FINAL THOUGHTS.​
Digital Colouring
Another side to colouring an images is digital media. I realise this is not for everyone and even if you have access to a program that enables you to colour, it may not appeal to you.
However, if you are familiar with such programs and wish to try, scan an image into your computer and colour away. This will also enable you to experiment with a wide range of colour and style.
The image to the right is an example from cover of my colouring book 5
Doubting Yourself?
You may find that you are sometimes disappointed with your colouring and art experience. If you do feel like that just keep going. Relax and enjoy what you achieve, the more you practise the better you will be.
Keep the work that you produce so that you can look back and evaluate your progress. Everyone’s work is different, so be your individual self and develop your unique personal style.
THE COLOURING BOOK
The first European venture was to colour images of maps and engravings. This was, however, reserved for the privileged class of adults.​​ The first commercially printed colouring book was titled ‘Little
Folks painting book’ in 1879. This publication was the forerunner
of the popular genre being ‘mainly for the improvement of children’.
Since then many thousands have been published, and in the 1960’sa new target market of adults was included.
It is for this market that I have produced my own series of colouring books. Amongst the vast array of titles to find mine on Amazon click book image below:
