Coloring with colored pencils used to feel like something I left behind in childhood. But as I got more serious about observational sketching and making art from real life, I realized how much depth and nuance you can get from them – when you approach them like a painter, not a perfectionist.
If you're looking for techniques for coloring with colored pencils that fine artists actually use, this isn't about blending everything smooth or staying inside rigid outlines. It's about building form with color, working from big shapes to small, and embracing the expressive nature of the medium.
When I was studying traditional 2D character animation at CalArts, we were taught to observe first, not invent. That stuck with me. Whether I'm sketching a bird in the garden or a still life on my table, I approach it the same way: large shapes of light and shadow first, then color choices that build mood and form.
I don't aim for perfect realism. I want my drawing to feel alive, like it was created by a person seeing something for the first time. In this post, I'll walk you through some of the techniques I actually use when drawing with colored pencils, not the textbook stuff, but the real ways I layer, blend, and let go of perfection.
Key Points
- Focus on large shapes of light and shadow before fine detail.
- Use layering and pressure control instead of blending everything flat.
- Mix expressive mark-making with strategic color choices.
Techniques for Coloring with Colored Pencils That Actually Work
There are a lot of tutorials out there that teach colored pencil coloring like it's a checklist: base color, midtone, highlight, burnish. That might work for photorealism, but if you're trying to create something more personal, expressive, or true to observation, here's what I do instead.
Start with Big Shapes, Not Outlines
When I look at a scene or a photo reference, I don’t jump into drawing lines. Instead, I squint and ask: where are the darkest shapes? Where does the light fall? What are the main chunks of value?
I lightly sketch in those zones using a muted tone like warm gray, sienna, or sometimes just the base color of the form. This helps me stay focused on how the form sits in space. I ignore edges and outlines for as long as I can.
It’s tempting to start outlining everything you see, but the truth is, lines flatten things. If you want your drawing to have volume and light, start with the big zones of value.
Layer Colors with Purpose
Colored pencils really shine when you use layering to your advantage. You can create incredibly rich colors by combining complementary tones or building warm-to-cool transitions.
For example, if I want a mossy green, I might start with a layer of yellow ochre, follow with a light green, and then deepen the shadows with a cool blue or even a touch of purple. The result is so much more interesting than grabbing one pre-mixed green and pushing hard.
You can also shift the temperature and mood of your drawing with subtle color choices. A shadow doesn’t have to be gray or black. It can be a deep indigo, or a reddish-brown. That layering creates atmosphere.
I tend to use artist-grade pencils like Prismacolor and Polychromos. They blend differently, and I like combining them. You can read more about their pros and cons in my Faber-Castell pencil breakdown and roundup of the best pencils for artists.
Vary Your Pressure
Pressure control is more important than people realize. Beginners often press too hard too soon, thinking it will give them more saturated color. But once you press hard, the tooth of the paper flattens out, and you can't add much more on top.
I build up my colors slowly with a light hand. I think of it like whispering with my pencil – soft gestures, gentle movement. Then, when I want contrast, I increase pressure for just those areas.
This creates a visual rhythm. The eye naturally moves between soft zones and sharper edges, giving the drawing more life and dimension.
Practice drawing a small circle using light pressure only. Then gradually build color on one side with firmer pressure. You’ll start to see how shadows come alive just by how you press the pencil.
Choosing the Right Tools Makes a Huge Difference
The tools you use can make or break your experience with colored pencils. Not all materials are created equal, and I’ve wasted a lot of time trying to force good results out of cheap supplies.
Paper Texture and Tooth
You need paper with some tooth – that’s the texture that grabs the pigment. Too smooth, and your pencil slides around and can’t build layers. Too rough, and it’ll chew through your pencil and look grainy.
I like using either hot press watercolor paper (if I’m mixing media) or paper designed specifically for colored pencil. You can find more about my top picks in this best paper for colored pencils guide.
Try doing the same drawing on two different papers, and you'll immediately see the difference.
Keep a Sharp Point, But Not Always
A sharp pencil gives you precision, especially for texture like fur or fine detail. But if I'm blocking in soft shadows or skies, I intentionally dull the point by scribbling on scrap paper. It gives a more natural, painterly stroke.
Keeping pencils sharp without wasting them requires a good sharpener made for colored pencils. I avoid the little metal ones that come in school kits.
Don’t Be Afraid to Mix Mediums
Colored pencils play nicely with watercolor, graphite, and even ink. I often do a loose watercolor underpainting and then go over it with pencil once it dries. It gives the drawing energy and depth without overworking the surface.
If you’re curious about combining watercolor and pencil, my article on watercolor colored pencils is a good place to start. I also talk more about mixing tools in this comparison of pencils and watercolor.
Mindset: Loosen Up and Let the Drawing Breathe
One of the best pieces of advice I can give is: don’t tighten up too early. Let the drawing be rough at first. Keep the energy alive.
Most of my favorite sketchbook pages have scribbles, erased lines, and places where I changed my mind. That’s what makes them human.
I draw with my whole arm, not just my wrist. I rotate the pencil. I let marks overlap and layer. That freedom makes the final image more believable, even if it’s not “technically perfect.”
If you want to polish a drawing at the end, you can use a colorless blender or light-colored pencil to burnish the surface. But don’t feel like you have to. I only burnish when the piece calls for it. This article on burnishing breaks down the process.
Real Examples From My Sketchbook
- A landscape I drew at golden hour used just three pencils: ochre, ultramarine, and burnt sienna. I blocked in the major light areas first, then layered shadow and color shifts over time. No outline. Just color shapes.
- When I drew a sunset with colored pencils, I let my strokes follow the direction of the clouds. That movement mattered more than blending every section smoothly.
- For a page of butterfly sketches, like in these colored pencil butterfly examples, I focused more on color shifts and layering than replicating every detail exactly. The variety in pressure and texture helped them feel alive.
More Tips If You're Just Starting Out
If you’re newer to colored pencils, don’t worry about doing it “right.” Just practice building layers and exploring your tools. My guide on using colored pencils for beginners is a good entry point.
It also helps to understand little things that trip people up – like why white spots appear or how to layer without muddying the colors. I also recommend this one on how to use colored pencils, which breaks it down in a low-pressure way.
There are also some odd topics you might get curious about, like whether colored pencils work on canvas, or how they were invented. I’ve explored those too, because I like knowing how my tools work.
And if you just want to explore more materials, start here: my colored pencils tutorials.