Colouring with Promarkers – Blending 1

Mostly I colour light to dark with promarkers, early in my colouring journey I used the dark to light method because I didn’t “get” to keep the inks wet when I first tried light to dark, this lead to patchier results and I had no idea I was doing anything wrong, now I know better through my own experiments and light to dark colouring is now my preferred method.

Before you start with light to dark blended colouring I recommend that you get to grips with flat colour first.

The biggest trick is working while the ink is wet. As I have mentioned before the easiest way to achieve this is to work in sections, it does take longer but you will get better results.

To get a good blend you will want between 3-5 colours, this will depend on how much depth you need from a certain area of the image and of course the size and amount of detail in the image itself. For this little guide I will only be using 3 colour blends as the flower isn’t overly detailed and there aren’t any large areas to really warrant being able to add lots of layers of colour.

These are the colours I will be using

Remember the trick to getting the blend to work is to add colour on top of the colour underneath while it is still wet, do not pause between colours in each section.

Start by getting tulip yellow, leaf green and grass ready, this is for the blades of grass at the bottom of the picture.

Colour all of the grass with the tulip yellow, then take the leaf green and colour almost to the tip, then take grass and colour up to a point before where the leaf green stops.
Go back to leaf green and go over the point where grass meets leaf green then do the same with the tulip yellow where that meets the leaf green.

Get leaf green, grass and china blue ready. this is my favourite blend for leaves.
Colour the whole leaf and the stem with leaf green, then add a thick line of grass up from the base of the leaf and along the centre line also add some at the top and the base of the stem. Use china blue to go along the centre line of the leaf and at the base of the stem where it meats the grass as these will be the darkest points. Once you have done the blue, use grass to blend the blue into the grass and leaf green to blend the grass into the leaf green.

For the front petals you will need orchid, purple and plum. To make sure the ink stays wet as you are working only do one petal at a time, though dependent on the paper once you get used to blending you may find on small images you can work more than one section for certain details.

Begin by colouring one whole petal with orchid, then with purple add some lines that follow the lines on the flower from the lower edge of the petal, leaving you with a triangle look to the shadow in this example. Use plum to just add a thin line at the very base of the petal. As with the other colours use purple to blend in the plum and orchid to blend in the purple at the points where the colours meet.

Continue with the other front petals in the same way.

The back petals are using the same colour combination and process but the shadow comes further as the petals are partially masked by the front ones. As you can see in the example the purple comes up both sides of the petal quite a way, the plum is still a thin line at the base and up the sides, blend in as before by using the lighter colours to work the darker one to it.

After completing the first petal, work on the others individually until you have completed all four.

I did forget to photograph colouring the centre of the flower, though that is done with tulip yellow, sunflower and pumpkin. Tulip yellow is the base, colour the whole circle with that, using sunflower add a crescent moon shape on one side of the flower and with pumpkin just add a small deep shadow line on the edge of the circle within that crescent moon shape.

If you do have difficulty keeping the ink wet as you are working you can use the blender pen to dampen the area before you start colouring it, this will keep the ink wetter for slightly longer but it will lighten the colours slightly and dependent on the paper it will cause the ink to spread a little more than normal.

Choosing a colour blend can be part of the fun of colouring too, use a spare piece of paper to test out blends by colouring a square with the lightest colour, then going over 2/3 of it with the mid tone and then the bottom 1/3 with the darker tone. Having a colour chart of your pens will also help you identify colours that will work well together in a blend, or keep an eye on my library where I publish blends that I have tried, tested and used.

Once you have the hang of 3 colour blends you can look at adding further colours to build up greater levels of shadow or highlight.

While I work with promarkers the process isn’t any different between brands of alcohol markers, Spectrum Noir and Copics (the other two brands that are commonly used) work in the same way.

Let me know in the comments if you found this useful, or if you have any questions.

Happy Colouring



Colouring Therapy Art Book

With no other editions this colouring magazine from Magbook is a bit different from the other magazines. Magbook release individual bookazines on popular topics. This one is also available on Amazon. Priced at £5.99 it’s a little more expensive than I thought it would be, compared to other magazines on the market.

There are 56 Images to colour in this double sided print edition, the publication is split into 5 “chapters” Animal Kingdom, Patterns, Spiritual, Nature and Art Inspired though there are only 3 images in the art inspired chapter and the nature chapter is mostly things that could have easily gone into other sections the splits seem kind of redundant.

At the start of each chapter 3/4 of a page is taken up by a single paragraph of text and the final 1/4 has part of the double spread image, it seems that most of the images would have been fine on just a single page, some of the actual double page spreads are like this too, only taking up half of each page but split across a double.

The artwork is a bit of a mix, there are a few highly detailed images but a lot are really thick lines so not great for more advanced colourists, the paper is also quite thin you can see the print from the image on the other side on practically all the pages.

Onto Colouring

Knowing there wasn’t any chance of using alcohol markers as it was double sided I tested my stabilo 68’s on the tiny image from the front page. Even though I am light handed with my colouring the colour is obvious on the opposite side of the page.

Even gel pens where the ink doesn’t soak into the paper, so don’t bleed, showed through on the opposite side.  So I switched to coloured pencils, which are about the only media you can really use on this paper but you can tell on the opposite side areas that have been filled with pencil, especially darker colours, even though you don’t see the colours coming through.

In Conclusion

I would say this one isn’t particularly worth the money. While there are a variety of designs that would be good for anyone that wasn’t sure what style they like to colour the thin pages really let this down because you will see the design on the reverse side.

All right if you only want to use pencil and want the variety of designs this publication has to offer, but it is not one I would recommend.

colouring therapy by magbook

chapter start in colouring therapy

colouring in colour therapy