When I first got into colored pencils, I kept running into the same frustrating issue—white specks of paper showing through no matter how much I colored. If you’re wondering how to color with colored pencils without white spots, I’ve been there too. The fix isn’t about pressing harder. It’s about using the right technique, the right tools, and understanding how light and texture work together.
I approach drawing by observing real life or photos, starting with large shapes—usually based on shadow and light—then moving into the details. I don’t follow a step-by-step cartoon-style method. I try to let my hand move loosely and respond to what I see. That same observational mindset helped me fix the white spots problem in my coloring, and it made the whole process a lot more expressive.
I’ll walk you through everything I do to get smooth, rich color with minimal white spots, without losing that sketchy, natural energy.
Key Points
- Use light layering to build up pigment gradually, rather than pressing hard.
- Choose a smoother paper surface or burnish with a final layer to flatten the tooth.
- Fill large shapes with even color before going into small details.
How to Color with Colored Pencils Without White Spots: Start with Layering, Not Pressure
Most of the time, white specks show up because the pencil pigment isn’t sitting deep enough into the paper’s tooth. It’s tempting to fix this by pressing harder, but that actually flattens the tooth too soon and prevents further layering.
Instead, I start light and layer gradually. I hold the pencil loosely and keep my strokes quick and light—almost like shading with graphite. The first layer just tints the paper. The second and third layers start to fill in the texture.
You don’t need to fill the entire space in the first go. That’s what creates that grainy, patchy look. Think of it as fogging in the shape gently, pass after pass. Let the color gradually build.
I also shift my pencil direction with each layer—horizontal, then vertical, then diagonal—to help fill in the gaps from multiple angles. It feels a bit like weaving, and it’s surprisingly effective.
If you’ve never explored this kind of layering, you might enjoy this guide on techniques for coloring with colored pencils—it covers several methods I use.
Burnishing: My Go-To for Final Blending
Burnishing is the trick that really pulls everything together. Once I’ve got enough layers down, I use a colorless blender or a light-colored pencil (like cream, white, or a pale gray) to apply firm, even pressure.
This melts the layers together and flattens the paper texture, filling in those final stubborn white flecks.
You don’t have to burnish the entire drawing—just the areas where you want a richer, more solid finish. For me, it’s usually the focal point: a shadow under a tree, the glow of a cheekbone, or part of a sunset sky.
Burnishing also gives a soft, almost painterly feel in some areas, which makes a nice contrast with the sketchier parts. (Speaking of which, I’ve broken down how I layer color in a sunset with colored pencils if you want to see it in action.)
You’ll get a smoother burnish on a paper that’s not too toothy, so keep that in mind too.
Choose the Right Paper for Colored Pencils
Not all paper is created equal. Some papers have a deep tooth that grabs pigment well, but shows more white unless you build it up with many layers or use burnishing. Others are smoother, which helps avoid the speckled look but might not take as many layers.
I usually reach for a smooth Bristol or a medium-tooth drawing paper that can handle some layering but won’t fight me too much on coverage.
Rough sketchbooks, printer paper, or cheaper drawing pads are usually the biggest culprits when it comes to white spots showing through.
If you’re curious, I have a full breakdown of what I’ve tested in best paper for colored pencils.
Also worth noting: some brands of colored pencils work better on certain papers than others. I’ve found that Faber-Castell colored pencils glide beautifully across smoother paper, while softer cores like Prismacolor dig in deeper on rougher surfaces.
Sharpen Often for Better Coverage
Dull tips leave gaps. A sharp point helps get into all those tiny crevices in the paper’s surface and deposit color evenly.
It’s easy to forget to sharpen often when you’re in a flow, but I’ve noticed a huge difference when I make a habit of it. I sharpen my pencils constantly while working—especially when blocking in large shapes or transitioning to fine details.
If you’re using a colored pencil with a soft core, a gentle sharpener makes all the difference. I usually use a hand crank sharpener like the one I mention in best pencil sharpener for colored pencils because it gives a clean point without eating up the pencil too fast.
Match Your Colors to Light and Shadow, Not Just Objects
When you’re coloring based on observation, don’t just think “the apple is red”—look at where it’s red, where it turns orange, where the light reflects. That’s how I avoid the white spot problem without overworking the drawing.
By thinking in larger zones of light and dark, I can lay color more evenly and gradually blend into more detailed areas. If you skip this and start coloring individual parts without considering the light shapes, you often end up with inconsistent patches and leftover specks.
This mindset also helps you work looser and more expressively. You’re responding to the big shapes, not filling in outlines like a coloring book.
I go deeper into that in my post on using colored pencils for beginners.
Test Your Pencils: They’re Not All the Same
Some pencil brands just don’t play nice with certain paper textures. The core might be too hard, too waxy, or not pigmented enough. Over the years I’ve tried everything from high-end sets to drugstore packs.
Some cheaper pencils leave a more noticeable speckled look no matter how well you layer or burnish. It’s not always technique—it can be the tools.
If you’re curious what I use most often, I put together a full list of my go-to colored pencils for artists and reviewed several colored pencils sets that are worth exploring.
If you’re looking for something more forgiving (especially if you make lots of changes mid-drawing), check out erasable colored pencils or even Ticonderoga’s erasable colored pencil set. I use these for sketching ideas before committing to final layers.
A Few More Things That Help
There are a few techniques and tools I reach for occasionally when I want more polish or flexibility in a piece:
- Watercolor colored pencils let me blend large areas smoothly without a speckled look. You can lay down a base, activate it with water, and draw on top once dry.
- Colored pencils and markers can be layered together to fill gaps faster. Sometimes I use markers for the base layer, then build colored pencil on top.
- For very specific effects or beginner-friendly projects, I’ve shared a few ideas in colored pencil drawings for beginners and colored pencil drawings of butterflies.
And if you’re wondering whether colored pencils work on different surfaces, here’s my write-up on colored pencils on canvas.
My Approach Comes from Animation School
I studied traditional 2D character animation at CalArts, where everything was about observation, gesture, and storytelling through shape. That background completely shaped how I draw and how I use color.
Instead of trying to get everything clean and polished right away, I let the sketchiness stay and focus on building color with intent. That’s what helped me solve the white spot issue—by treating color like form, not just surface decoration.
If you’re new to this medium, I also recommend checking out my guide to how to use colored pencils and the full breakdown of colored pencils I use for layering, blending, and experimenting.