When people ask me how to use Prismacolor pencils, I always start by saying this: they’re smooth, buttery, and versatile, but the real magic comes when you learn to draw by observing.
That means looking at the light, the form, the colors in front of you, and building the drawing from large shapes to small. Not just filling in coloring book outlines.
I don’t use a formulaic method or sketch like a coloring book artist. My process is messy, expressive, and rooted in real life reference.
I studied traditional 2D character animation at CalArts, where we drew from life constantly. That stuck with me. I use that same observational mindset whether I’m drawing with a ballpoint pen, watercolor, or Prismacolors.
These pencils are known for their intense pigment and blendability, but without a thoughtful approach, it’s easy to overwork them or get muddy color.
Here’s how I use them in a way that supports loose, expressive sketching and still gets vibrant results
How to Use Prismacolor Pencils for Observational Drawing
I don’t draw in outlines and then color in. My process with Prismacolor starts from the same place all my drawing does: observation.
Whether I’m sketching a crow in my backyard or drawing from a photo of a sunflower, I begin with the large shapes of value. That usually means squinting and noticing where the darkest and lightest areas are, and lightly blocking them in with a base color.
Instead of worrying about the “correct” color right away, I treat the first few minutes like I'm roughing in a sculpture. It doesn't need to be perfect. I'm just looking for a sense of volume and light. This gives the drawing structure and stops me from fixating on tiny details too early.
You don’t need a full set to get started, but if you are curious, I put together a breakdown of different colored pencils sets and which ones are worth buying.
Prismacolors are creamy, which makes them perfect for blending, but they also break easily. Sharpen carefully (I use this pencil sharpener for colored pencils to avoid wasting expensive cores).
My Layering Strategy
Here’s how I usually build up a drawing:
- Light sketch: I start with a muted color (like a warm grey or cool blue) and sketch the big shadow shapes. At this stage, I keep it loose and very light. I’m not even committing to edges yet.
- Local color: Then I apply a light layer of the base color for each area, using the side of the pencil and very little pressure. I might lay down yellow for a flower petal or pale brown for skin tone, just to block in the foundation.
- Shadow and color variation: I come in with complementary colors to push shadow and depth. For example, I might use a dull purple in a yellow flower's shadow. I keep layering different tones until the shadows feel alive, not flat.
- Highlights and details: Last, I add the brightest highlights and crisp lines with a sharpened white or cream pencil, or even something bold like vermilion. This is when I tighten up edges or textures – but only where it helps the overall effect.
If you want to dive into other types of colored pencils and how they behave, I shared my experience with both Faber-Castell pencils and erasable colored pencils.
Avoiding Muddy Layers and Wax Bloom
One of the easiest mistakes to make with Prismacolors is pressing too hard, too soon. That’s when you get waxy buildup and shiny patches that won’t take more color. It also tends to flatten the drawing.
If you’ve ever reached a point where the paper won’t take more pigment and things look plastic and overly smooth, that’s wax bloom. It’s common, and easy to avoid if you layer with a light touch.
I build my layers slowly. Think of it like glazing in paint. You can always add more, but it’s hard to take pigment away. That gradual build-up also gives you time to notice color shifts and how one hue blends into the next.
Using quality paper helps a lot. I wrote a full breakdown of the best paper for colored pencils because not every sketchbook can handle layering and blending without tearing or warping.
If you want a smoother, more polished look, you can experiment with burnishing techniques, which involve layering color until the tooth of the paper is completely filled in. But I personally prefer a more natural, textured finish that keeps the hand-drawn feel.
Using Prismacolor for Expressive Color
I don’t use Prismacolor pencils to replicate a photo exactly. I like to push and exaggerate the colors I see. That’s part of what makes drawing fun for me.
For instance, I might draw a sunset with unexpected purples or teals in the clouds. I’m not worried about accuracy – I’m chasing a feeling. Here’s an example I shared of a sunset with colored pencils that breaks away from realism.
Because Prismacolors are so soft, you can blend colors together right on the page. I often layer warm and cool tones in the same area to get a more dynamic feel. A yellow highlight might have a soft pink underneath. A green leaf might get deepened with a touch of red.
If you’re curious about broader techniques for coloring with colored pencils, I covered those in more detail in a separate guide. You’ll find ideas there for mark-making, layering strategies, and color blending tricks.
And if you're still early in your practice, this guide on using colored pencils for beginners might help you get a feel for the basics before diving too deep.
Tools That Help
The right tools make a huge difference, especially if you’re using these pencils for more than casual sketching.
- Sharpener: A good sharpener is a must. I already mentioned my favorite, but if you’re curious, I compared several options in the full colored pencils gear guide.
- Paper: Use paper with a bit of tooth. Bristol vellum or mixed media paper works well. Avoid smooth printer paper – it won’t grab the pigment or hold up to layering.
- Pencil extender: Prismacolors wear down fast. A pencil extender can save your fingers and make short pencils usable longer. It also gives you better control.
If you're experimenting with mixing materials, you might enjoy pairing them with watercolor colored pencils or learning more about colored pencils and watercolor combos. Both can give you interesting effects and loosen up your approach.
I also sometimes sketch with Prismacolors on different surfaces – yes, even on canvas. If you're curious about that, I tested it in this post on using colored pencils on canvas.
Wrapping Up
If you love drawing from life or photos and want your colors to feel expressive and rich, Prismacolors are a great fit. But they shine best when used with a loose, layered approach – not by pressing hard or trying to color between the lines.
Let the drawing evolve from the big shapes. Stay light at first. And most importantly, let your hand move. These pencils are built for movement.