Why Your Marker Set Doesn’t Have a Dark Yellow

Where’s the Dark Yellow?

Bright yellow is easy to find.

Lemon yellow? Check.

Golden yellow? Got that too.

But the minute you want to shade any of that stuff? Uhhhh, you're outta luck.

So you shade yellow objects with orange markers.

Or you start with a lighter yellow than you actually wanted, so you have enough “darker yellows” left for shading.

But wait a minute...

Because your set does have dark yellows.

You just can't see 'em because you moved them over to the yuck section.

The problem is not the marker set

Copic has several dingy yellows in the Y family. Ohuhu has a similar number of murky yellow-browns.

These dark yellows exist.

The problem is, you don't see them as yellow.

Hiding in plain sight

Most colorists organize their markers and pencils and all their other art supplies in ROY G. BIV order: Red, orange, yellow, green, blue, indigo, violet.

Which works beautifully until brown shows up and ruins the seating chart.

Brown is what we call an "extra-spectral color" which means it does not fit into the rainbow.

Brown is a mixed color, I made a video all about it which you can watch here.

So when it comes time to organize your marker rainbow, most colorists make a separate brown, neutral, “yuck” section.

And guess where the dark yellows end up?

In the mud.

Dark yellow doesn't look like yellow

That's the key.

Dark yellow is not simply a bright yellow moved a little left or right on the color wheel.

Dark yellow loses chroma. It loses purity. It loses vibrancy.

The effect is that as yellow gets darker, it somehow feels less-than-yellow.

Your dark yellows are hiding under assumed names like:

• ochre

• mustard

• olive yellow

• dull gold

• dirty cream

• greenish tan

And I get it-- these are definitely not the pretty, sunshiny, cheerful yellows people want to color with.

Which is why you organized them down into the brown zone, right?

But later... and there's always a later, right?

Later, when you need to shade a lemon, you look in the yellow section and think you have no dark yellow.

But you do.

You just didn't think you'd ever need it.

Shading with black is not the answer

A common instinct is to darken yellow with black or gray.

Sounds good.

Looks terrible.

Yellow mixed with black reads as swamp green. Instead of creating a shady yellow, it looks like a week old bruise.

This is why professional artists often shade yellow with its complement instead.

Yellow shaded with purple creates a warm shady color... like my lemons here. I shaded them with this purple pencil.

And yellow shaded with violet makes a cooler kind of shade. My rainboots were shaded with this violet pencil

Purple and violet neutralize yellow without pushing it into the orange or green families.

Why orange is risky

Orange feels like the obvious workaround and I'll admit, it's pretty rare to find a coloring tutorial that doesn't encourage this easy solution.

Orange feels darker than yellow. And the two colors are closely related. Orange sits right next to yellow on the color wheel. So orange feels logical.

But yellow has a very narrow identity.

Even a tiny shift toward orange can delete the feeling of yellow.

A lemon shaded with orange doesn't even look like like a lemon anymore. Suddenly it's a tangerine or some weird half-ripened clementine.

There's also the Chernobyl problem.

Orange is a loud and obnoxious color, there's a reason road cones and warning signs are orange.

So when you shade a introverted little lemon with orange, suddenly that shade feels lighter, brighter, and more in your face than the lemon itself.

Shade's not supposed to do that.

Orange is not automatically wrong.

But orange is most definitely not “shady yellow.”

How to spot shady yellow markers and pencils

Put your ugly yellows back into the yellow family.

I know it'll mess up your perfect rainbow, but the goal is to start seeing these colors as yellow rather than yuck.

Line up your bright yellows first, then place the dingy yellows, ochres, goldenrods, yellow-browns, olive yellows, and greeny-grays into your yellow section.

The more you see shady yellows in context, the more they'll feel like yellow relatives and partners, not strangers.

And don't talk yourself out of it because shady yellows feel to "too brown."

Every brown is a mixture. Some browns are greenish, some are reddish, and some are more golden or tan. When taken as a whole, most browns barely feel related.

The E family isn't a color family.

It's an orphanage.

If you can't spot the flavors of brown by eye, I have a tutorial here to help.

Just remember that the golden, yellow-based browns are your mis-filed dark yellows.

Shady yellows are the wallflowers.

They don't look like much standing all by themself but get 'em on the dance floor and they're the life of your yellow party.

The common mistake

The mistake is not that you need more markers or more pencils.

I mean, you can search high and low for better dark yellows but if you're looking for "yellow", you're never going to spot them.

The mistake is sorting supplies by how they look instead of how they behave.

A yellow-tan may look useless in the marker case.

But it may be exactly the shady color you need.

When life gives you lemons...

This is the color conundrum behind Lemon Zest.

The lesson is not “how to color lemons.”

It is about color-sculpting realistic and rounded lemons without turning them orange, brown, green, or muddy.

Yellow realism depends on finding the hidden dark yellows that rainbow-organization rejected.

Lemon Zest takes a closer, artistic look at yellow shading, creating the perfect dark yellows through layering, and why the correct color is often the one that originally made you say "yuck!"

Best Paper for Alcohol Markers: 6 Recommendations (2024)

The Best Paper for Alcohol Markers

Recommendations for beginners, intermediate, and advanced levels

What’s the Best Paper for Alcohol Markers?

Are you new to Copic Markers, Olo, Ohuhu, or Pro-Markers?

Or maybe you’ve been using markers for a while and you’re finally ready to invest in better paper?

My name is Amy Shulke— I’m a freelance technical illustrator and marker instructor. I’ve used art markers since my first year of art school back in 1989. I’ve tried a lot of marker papers. Which do I recommend?

First, relax. “Best paper” doesn’t exist.

Some brands are better than others but there isn’t one universal paper that works for everyone.

Today, I’m sharing my top six marker papers but it’s just my opinion.

From the size of our drawings to the colors we use— we have different needs. So there’s not one perfect paper for everyone.

But in general:

• Those who color simple small stamped images with heavy outlines can get away with craft grade paper.

• The larger you color, the more you need artist grade paper.

• Anyone who blends needs a better quality paper.

• If you use a lot of red, orange, pink, and violet you’ll need a premium paper.

• And the newer you are to markers, the more you’ll benefit from better paper.

So let’s talk paper today but this is an opinionated conversation, not a declaration.

Try several brands to find which performs best for you.

BEGINNER WARNING!

Throughout this article, I’ll cover a few common myths and mistakes about marker paper. Here’s the first one I hear a lot.

Myth: “I’m only a beginner so I’m practicing on inexpensive paper.”

Learning on premium marker paper seems wasteful because every mistake is an expensive mistake. Why not learn on the cheap stuff and upgrade later?

Here’s the problem—

Bad paper teaches bad habits.

Which bad habits?

• light to dark coloring

• using more than 4 markers in a blending combination

• excessive re-blending and fixing

• over-inking

• scrubbing a blend

These are inefficient coping mechanisms which people instinctually do on bad paper. You’re trying hard to make it work!

You learn to color differently than you would on better paper. Bad paper encourages bad habits.

And here’s the real stinker— when you finally upgrade to better paper, you’ll bring all your bad habits with you.

Good paper can’t fix bad technique.

Beginners need high quality marker paper more than anyone else.

Learning is easier and more enjoyable when you’re not struggling to make the best of bad paper.

So let’s get to it.

What are my top five paper selections this year? Let’s go in reverse order, ending with the paper I recommend most.

Six Favorite Papers for Alcohol Markers

(in reverse order but honestly, each of these papers may work for you)

6. Fabriano Bristol +

WEIGHT: 145lb/250gsm

FORMAT: Gum (glue) bound pads from 9x12” to 14x17”

BUDGET: $.82 per 11x14” sheet (as of 07/2023)

I learned to use markers on Bristol in art school so I know firsthand it’s an excellent surface for beginners, News flash: I still use Bristol several times a week!

Bristol is not a brand, it’s a style of paper. Bristol is an uncoated paper made in “plys” or layers. The plys slow ink absorption, keeping the ink accessible for color building and smooth blending.

“Smooth” or “Plate” style Bristol is best for markers.

FABRIANO BRISTOL+ PROS:

• Ink does not migrate deeply into the paper fibers right away - allows easy blending

• Does not stain easily - smoother red, pink, purple blends

• No feathering - most incorrectly call this “bleeding”. Bristol+ does not leak ink or “feather” out beyond your line art

• Excellent value - feels and behaves like premium Bristol

• Two sided - no front or back, use either side

• Thin enough to feed through most printers

FABRIANO BRISTOL+ CONS:

• Thinner than other Bristols — may bleed-through the backside after 5-6 layers

• Colors lose a bit of vibrancy as the paper dries

• I’ve not seen this brand carried in local art or craft stores

BEGINNER WARNING!

Myth: “I’m using a dupe of an expensive paper.”

There are no duplicates or exact substitions in the paper world. Every paper has a proprietary recipe and production process.

Two brands can be similar but they’re never the same.

Dupes are often suggested as an inexpensive alternative to a more expensive paper. Let me gently suggest that if a paper was truly a duplicate, the substitute would either drive the expensive company out of business or force them to lower their price. Has this happened? If not, it’s not a dupe!

I’ve used markers for over 35 years— dupes never live up to the promise. At this point, I’m convinced duplicate recommendations come from people who have never touched the original or don’t know enough to feel the difference.

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Never worry about blending again

What’s standing between you and creative coloring? Blending!

There’s a lot to think about when you’re coloring. Which colors? Am I using enough ink? Why isn’t it blending? Can I blend it again or should I start over?

If you’re focused on all that stuff, you’ve left no room for creative thinking.

Artistry can only happen after you’ve mastered The Blend.

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5. Winsor & Newton Marker Heavy Weight

WEIGHT: 43lb/160gsm

FORMAT: Gum bound pads from 9x12” to 11x14”

BUDGET: $.80 per 9x12” sheet (as of 07/2023)

WARNING: Make sure it’s “Marker Heavy Weight” and not “Winsor & Newton Marker” which is half the thickness and doesn’t blend well. I do not recommend the lightweight version!

Unlike Bristol, this paper was designed especially for use with alcohol markers. Inks blend easily, even with staining colors.

This is a “bleedproof” paper which means it’s a two ply with a polymer layer in between which blocks bleed-through. You can color on the front, then color on the back.

MARKER HEAVY WEIGHT PROS:

• I consider this a self-blending paper which requires minimal ink and it self-smooths as the ink cures

• Colors remain noticeably vibrant when dry

• Does not stain - easier red, pink, purple blends

• Thin enough to feed through most printers

• Has enough tooth for soft colored pencils

MARKER HEAVY WEIGHT CONS:

• Noticeably thinner than cardstock

• Creases and dents easily - can not be healed

• Pills on contact with water - not for use with water-based markers or water-soluble media, do not sprinkle with water

BEGINNER WARNING!

Myth: “Marker Paper is ideal for coloring with markers.”

Many beginners purchase Marker Paper because it says “Marker Paper” on the label— a logical but tragic mistake.

Sadly, many marker papers buckle when you try to blend. There’s also a weird thing where the first layer of ink looks fine but the second or third marker starts removing all the previous layers.

“OMG! This is terrible paper!”

Hang on. there’s a difference between “marker paper” and “paper for markers”.

Marker Paper is for people who DRAW with markers.

Marker Paper is NOT for people who BLEND with markers.

Many products with “Marker Paper” on the label are thin— thin enough to see though. That’s your first clue it’s NOT a blending paper.

Thin marker paper has been around since the 1950’s, long before anyone thought to blend with markers. It was designed for quick sketching with light layers. It’s used by architects, fashion/landscape/product designers, lettering specialists… basically any artist who needs to convey an idea to a client before starting the final drawing or painting.

Thin marker paper is not terrible.

Markers were around long before you. Not everything is about blending.

4. Transotype Perfect Colouring Paper

Here’s one for our European readers. Tansotype is not currently available in the US or Canada.

WEIGHT: 250gsm

FORMAT: loose packs of A4 size

BUDGET: .80 (Euro) per A4 (8.25x11.5”) sheet (as of 07/2023)

WARNING: Transotype also makes a “Bleedproof Alcohol Marker Pad” formerly known as the “Copic Bleedproof Pad”. See above warning about “marker paper”. The Bleedproof Pad is a thin marker paper and does not work for blending!

Perfect Colouring Paper is thicker and it’s excellent for blending.

I taught a few classes with Perfect Colouring Paper when it was available in the US. I keep hoping they’ll bring it back.

PERFECT COLOURING PAPER PROS:

• Almost a self-blending paper which self-smooths as the ink cures

• Originally developed for photo printers so it feeds easily through commercial and home printers

• Has enough tooth for soft colored pencils

PERFECT COLOURING PAPER CONS:

• Read my article about Perfect Colouring Paper here (back when it was sold in the US as “Holtz PCP”)

• Ink colors mellow slightly, losing some vibrancy

BEGINNER WARNING!

Myth: “Copy paper works well for markers.”

Office grade printer paper and cardstock are intended for use with home printers and commercial grade copy machines.

Nobody wants to grab wet paper from a copy machine and we don’t want fresh copies to smear previous pages, so office grade paper is designed to absorb ink quickly and dry extremely fast.

This is the exact opposite of what we want for markers.

When paper dries too fast, markers leave streaks and blending is nearly impossible. Good marker paper is slow to absorb the ink and it stays wet longer allowing you lots of time to smooth and blend.

General Rule: If it’s sold for printers, don’t buy it for markers.

3. Copic Paper Selections: Thick Marker Paper

WEIGHT: 186.7gsm

FORMAT: loose packs of A4 size

BUDGET: $.77 per A4 (8.25x11.5”) sheet (as of 07/2023)

This paper works well with all brands of alcohol marker, not just Copic.

For the last decade, Copic has tried to sell their own paper, cardstock, and notebooks. Frankly, they’re terrible at outreach and their papers have been confusing and inconsistent. The labels and names change frequently and products appear with no launch and disappear without notice. I’d given up on Copic branded paper until my favorite paper of all time (Cryogen) was discontinued and I was forced to test lots of papers again.

The best of their “Paper Selections” line is the Thick Marker Paper which is seems close to my old favorite Cryogen. I hope Too continues making this paper. Crossing my fingers that it doesn’t go poof overnight.

THICK MARKER PAPER PROS:

• A self-blending paper which self-smooths as the ink cures

• Has a good amount of tooth for colored pencils

• Easily feeds through my printer

• Colors remain vibrant

• Allows some water contact (but will pill if scrubbed)

THICK MARKER PAPER CONS:

• WARNING: This paper does not like to be taped. Even gentle tape removes fibers and can damage the surface badly

• This paper feathers slightly (ink seeps beyond the line if you color very slowly)

• More bleed-through than the other favorites in this article

• Looks like normal white cardstock so keep this separate from ordinary printer paper

BEGINNER WARNING!

Myth: “I use mixed media paper because it’s especially formulated for markers and more.”

Paper labels are confusing— not just beginners but even the pros.

Mixed Media is a way to sell one paper to lots of people. To do this, they list as many mediums on the label as possible. If a paper is even a little bit okay for markers, they will say “Amazing for Markers!!!” on the packaging.

Mixed Media paper sounds like it’s scientifically designed to be great for everything, right? Actually, all “mixed” means is that it doesn’t explode on contact with anything on the list. It’s the definition of mediocre paper— it isn’t bad but it’s also not amazing.

If a paper is good for everything, it’s not great at anything.

I think you can do better than “Doesn’t totally stink with markers!”

2. Strathmore Smooth Bristol

WEIGHT: 300 = 100lb/270gsm. 400 not listed but similar thickness

FORMAT: Gumbound pads from 9x12” to 18x42”. Loose sheets are 22x30”

BUDGET: $.47 (300) and $.69 (400) per 9x12” sheet (as of 07/2023)

Strathmore Bristol comes in graded levels— 300 (yellow label), 400 (brown label), and 500 (white label).

I currently teach advanced Marker + Colored Pencil classes with Strathmore Bristol (Smooth). Ideal marker papers tend to be ultra smooth so it’s hard to find an excellent marker paper with enough tooth for colored pencils. Strathmore 300 and 400 work nicely with both mediums.

300 is Strathmore’s basic Bristol. It feathers slightly so it’s not as ideal with markers but allows more colored pencil layers.

400 is better with markers and slightly less amenable to colored pencil. I personally prefer working on 400.

I do not recommend 500 as I don’t notice enough improvement over the 400 series to justify the price jump. At the 500 level, the Smooth finish is called “Plate” and is too smooth for pencils.

STRATHMORE BRISTOL PROS:

• Colors stay vibrant and true

• Large sheets for bigger projects

• Allows waterbased media— not good for watercoloring but is friendly with water-based markers and inks

• Scans and photographs well for digital art or print reproductions

STRATHMORE BRISTOL CONS:

• 300 Bristol feathers slightly (ink seeps beyond the line if you color very slowly). 400 does not feather.

• May not feed through office printers (my two printers handle it well but most students report printer issues)

• Too thick for card making

BEGINNER WARNING!

Myth: “Just find a heavy cardstock which doesn’t bleed-through to the backside.”

This is a common myth. In general, good blending paper tends to be thicker. Likewise, the worst papers are thin enough to bleed through at the first touch of a marker.

But there are many thick papers which are awful for markers and some thinner papers blend beautifully.

And as a marker instructor, seeing a bit of inky color on the backside is often the sign of a smooth blend on the front. Most beginners don’t use enough ink so I often check the backsides and encourage them to bleed more.

It’s not about paper weight or thickness. It’s about what the paper fibers do with the ink on contact.

When testing marker suitability, I watch to see how much ink the paper pulls from the marker. I take note of where the paper stores the ink (on the surface or deep in the core). I look at whether the paper fibers stain easily or if it releases the color quickly to allow blending.

Thickness is one of the last things I worry about.

1. X-Press It Blending Card

WEIGHT: 250gsm

FORMAT: Loose sheets of 8.5 x 11”

BUDGET: $.40 per 8.5x11” sheet (as of 07/2023)

No surprise here. X-Press It Blending Card is my top recommended marker paper for all marker beginners, no matter what brand of alcohol marker you’re using.

X-Press It is required for several of my beginner classes. It’s that important.

This paper is a dream for blending! Like Bristol, XPI is a “ply” or layered paper. The front and back are coated with an ultra smooth fine-grain layer which keeps the marker ink sitting on the surface long enough to blend before the absorbent core takes over and holds the color. As the ink marinates on the paper, blends actually smooth themselves— in class, we call this self-blending effect “The Copic Fairy”.

X-Press It is relatively thin for the amount of ink it holds. It allows beginners to blend and reblend several times.

X-PRESS IT BLENDING CARD PROS:

• Self blending

• Holds many layers of ink

• Improves the blend success rate for most beginners

• Makes learning good technique easy

X-PRESS IT BLENDING CARD CONS:

• Has a noticeably bluish tint which frustrates card makers

• Colors lose a bit of vibrancy as the ink dries

• Has a slight fleck (paper fibers which stay white). This is minor and noticeable only to those looking extremely close.

• Too smooth for more than light layers of colored pencil

• Extremely “allergic” to water! Bubbles and blisters immediately on contact

• Mostly sold online

BEGINNER WARNING!

Myth: “Make sure to purchase acid-free archival paper for markers!”

Uhhh… hang on a sec, folks.

Alcohol markers are not lightfast.

So by the time your paper turns yellow, the ink will have long faded. Don’t worry about generational brands of paper and definitely don’t spend extra for it! Just color and enjoy your markers today and stop obsessing about what your grandkids will do with your art.

I’m researching a new article now

UP NEXT: Best Sketchbooks for Markers

(link coming soon)

What about other paper brands?

Whenever I recommend paper to students or readers, someone always asks:

“But what about ______? I’ve heard great things about it!”

As I said, I’ve tried a ton of papers in my career. I know which papers I like to work on.

But more importantly— as a teacher, I’ve observed student for years as they’ve learned to color and practice their skills. I’ve seen how the right paper can make learning a joy and how the wrong paper creates a cycle of failure.

Because someone always asks, here are other papers I’ve tried and why I’m not recommending them today.

Honorable Mention:

Cryogen Cardstock 89lb in Curious Metallic White - If I were writing this article last year, Cryogen would have been my #2 paper just below or in tieing with X-Press It Blending Card. In fact, for years, I’ve told students to start on XPI until they’ve mastered blending, then move to Cryogen. I absolutely love Cryogen!

Sadly, Cryogen is now out of production and the factory has closed. I’m now living off my stash, weighing each project to decide if it’s Cryogenworthy.

It’s not unusual for other companies to purchase the machinery and process for specific types of paper. I sincerely hope someone brings Cryogen back from the dead as I’ve not found a suitable replacement for it yet.

Paper that’s okay but not good enough to make my recommendation list:

1. Neenah Classic Crest Cover Solar White 110lb/297gsm (Also sold by Crafter’s Companion) - People frequently ask if I can recommend any office grade paper. Neenah CC is the closest I can get and even then, I don’t like it much. It’s economical and I understand why many card makers like to work with it. Unfortunately, the paper stains which makes it harder to blend reds or any ink with red in the formula. If you’re a card maker who uses stamps for simple coloring, go ahead and try it but I think Neenah CC is frustrating for those who color large or with realism. (Neenah CC at Amazon here)

2. Stonehenge White - I love Stonehenge White for use with colored pencils. I frequently use markers to basecoat my colored pencil drawings, a step which minimizes the amount of time it takes for a full colored pencil rendering, plus it adds vibrancy. Stonehenge is a little thirstier than true marker papers but I don’t mind. The real problem with Stonehenge for markers is that every once in a while, marker inks will break or separate on it, meaning that a BG marker will dry with a ring of green around it. I want to use it more, I just wish it wasn’t unpredictable. (Stonehenge White at Amazon here)

3. Deleter/Kent Comic 135gsm and Kent Paper 157gsm - Both papers are popular in Japan and with North American manga fans. I really want to like this paper but it’s too thin. The 157gsm doesn’t hold enough ink to allow much reblending and the 135gsm feels like sketch paper. After working on X-Press It and hearing about this mythical paper for years, I was disappointed. (Deleter/Kent at Amazon here)

Papers I Do NOT Recommended:

In no particular order.

1. Bee Artist Marker Paper - Bee has a lot of fans out there— I AM NOT ONE OF THEM. People keep recommending it to me and like a fool, I keep retrying it, even buying new sheets in case something has changed. Nope. Red inks stain and Bee bleeds more than it should. I think this is one of those papers people love when they’ve never tried good paper. (Bee AMP at Amazon here)

2. Hammermill Premium Color Copy Cover 110lb - Despite what the internet says, this paper is most definitely NOT a dupe of X-Press It!!! I do not understand why people love this paper other than the fact that it’s cheap and available at Walmart. This paper stains worse than Bee which makes certain blends frustrating and it bleeds on the 2nd layer of ink. If I had started with this paper, I would have quit long ago. (Hammermill PCCC at Amazon here)

3. Copic Paper Selections - Copic’s Thick Marker Paper is my #3 recommendation but I do not recommend their “PM” (thin paper) or “Custom Paper”. (Search "Copic Paper Selections" at Amazon here for the full line)

4. Winsor & Newton Classic Bleedproof Marker - Their “Marker Heavy Weight” is #4 on my recommended list but the thinner Classic Marker version is too thin for blending. (W&N Classic at Amazon here)

5. Gina K Pure Luxury - This was the first cardmaker recommended paper I ever purchased and it soured me right away. I’m sure it’s a lovely card backing but it’s awful for markers. It jams in my printer and even Multiliners smear when colored over!!! Worst of all, marker inks loose a ton of vibrancy as they dry. Literally a week later, the coloring looks 2-3 steps lighter. (No link)

6. Favini Art Paper - I’m searching for a Cryogen replacement and testing every paper I can get my hands on… but this ain’t it! I’ve tried about ten versions of Favini Art and all of it is miserably bad for markers, INCLUDING their “Marker Paper” and their “Bristol”. I expect to see ads for this paper as they try to enter the art market and yes, I expect to hear complaints afterward. (Here’s the Favini line carried at Amazon but there are more)

So there you go…

6 Best Papers for Alcohol Markers

Plus a list of tested but not-recommended papers.

Remember, there isn’t one best paper for everyone. My hope is that you’ll try several of my favorites to decide which works best for you.

1. X-Press It Blending Card

2. Strathmore 400 Bristol, Smooth Finish

3. Copic Paper Selections, Thick Marker Paper

4. Transotype Perfect Colouring Paper

5. Winsor & Newton Heavy Weight Marker

6. Fabriano Bristol Plus, Smooth

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“Ladybug” colored by the author, Amy Shulke. Copic Markers plus Prismacolor Colored Pencil details on X-Press It Blending Card. 3 inches. Online class here.

Amy Shulke is a professional illustrator who has used Copic Markers since 1990. She teaches artistic coloring classes online at VanillaArts.com and locally in Michigan.

Marker Novice is Amy’s completely free resource devoted to beginner marker education. For intermediate/advanced artistic coloring articles, see her Studio Journal here.

Products mentioned in today’s article:

Best Beginner Copic Blends: Blue-Green BG Marker Combinations (aqua and turquoise)

Are you new to Copic Markers and starting to build your collection?

Your first marker purchases can be nerve wracking! Copic makes a ton of markers, how do you know which colors to start with?

I struggled with the same decsions. This red or that red, this blue or that blue? Sure, the color is pretty but will I use it much? To be honest, I made mistakes. Many of the markers from my first box of 72 are colors are barely use. What a waste!

If I could go back in time and be smarter, I’d focus on useful blending combinations rather than buying boxed sets and grabbing any Copic in the clearance bin. Economy buys are only economical if you actually use the marker!

In the spirit of helping you avoid my mistakes, I started to wonder:

What’s the best blue-green blending combination for Copic Marker beginners?

I asked three of my favorite marker instructors about which aqua or turquoise markers they recommend for first time colorers.

• Which blue-green markers offer students the best value?

• Which Copic BGs are versatile enough to color many different turquoise items?

• Which aqua blending combinations do we teach with?

• Which BG markers do we use in our own work?

Which Blue-Green Copics are Best for Beginners?

We highly recommend Copic’s BG-Zero series of blue-green markers for beginners and those building a small, versatile alcohol marker collection. BG09-BG07-BG05-BG02-BG000 are excellent first purchases— they blend well and cover a wide range of aqua values.

Let’s talk to four Copic instructors to learn more about Copic blue-green blending combinations.

“Key to My Heart” by the author, Amy Shulke. Copic Markers and Prismacolor Colored Pencils on Cryogen Curious Metallic White 89 lb. paper. This project is featured Amy’s online class teaching how to develop realistic texture and shine. More info here.

Michelle Houghton’s Favorite Blue-Green Copics

Find Michelle on her Copic in the Craftroom channel at YouTube and at Scrapweaver.com

Asking a teacher for their favorite marker combination often leads to two totally different answers.

The markers we teach with may not be our personal favorites.

Sometimes we teach at stores where we’re obligated to use only the markers sold at the store. Sometimes we teach with an image that requires an unusual color palette.

Michelle uses the stamp “Woosh” in her Copic College course. Michelle limits the supply list to only versatile colors which can serve several functions. The tail on this mermaid is no exception.

Michelle teaches Copic College with BG57, BG53, and BG000.

But she freely admits that her own personal favorite BG markers are slightly more muted and sedate.

I’m a big fan of the BG75, BG72, and BG70 blending combination. It’s a soft, icy, almost grayish BG blend.

I also use light BG markers for a lot of backgrounds. When I want to color blue skies or give an image a neutral background, I often reach for BG000 or BG10. They’re both quiet colors which don’t interfere with the other colors in my images.

Watch Michelle use a photo reference to find a matching BG blending combination here.

Michelle demonstrates simple BG water here:

Here Michelle samples all the BG marker families side by side— an excellent comparison of each natural blending combination.

And here’s Michelle’s handy comparison of the different blue-green groups:

__________

Michelle is an elementary school teacher (BS Fine Arts, MA Education) with over 20 years of paper-crafting experience. She’s is a former Copic Certification Regional Instructor for Imagination International. Michelle runs the Copic in the Craftroom website and YouTube channel. Her Copic College events are favorites with Copic fans at all levels.. Visit her at Scrapweaver.com.

WE ASKED YOU!

What’s the favorite BG blending combo for Vanilla Arts readers?

Readers submitted 23 different blend suggestions; you really love unique BGs! In the end, BG15, BG13, BG11 was voted best overall.

Cordine van der Touw’s Beginner Aqua Blend

Find Cordine’s latest projects on her Facebook page here. You can also find her at Copic Marker Europe and Cordine’s latest classes for Copics at Colourstock.

Cordine recommends BG09 - BG05 - BG02 as your first blue-green blending combination.

Cordine says:

I love this combination! It blends so easily!

In her doodle image here, Cordine demonstrates how this BG blend can change, depending upon how much BG09 you add to the area.

The center dome feels deep and mysterious because she used more of the darker BG09 and BG05.

Then around the edges, Cordine used more BG02 and left room for the white paper to show. The addition of white makes the same blue look clean and clear.

This is another example of how a good teacher helps you maximize every dollar you spend on Copic Markers.

Cordine helps her students create multiple looks from the same markers.

__________

Cordine is an office manager in The Netherlands. She’s an avid paper crafter who loves card making, scrapbooking, and coloring stamps with Copic and colored pencils. She has taught Copic since 2013 for Colourstock as the Benelux region representative (Netherlands, Belgium, and Luxembourg). Contact Cordine here.

Psttt… the ducklings shown above are standing in front of circles made from BG10 plus a few colored pencils.

Elena Cazares’ Favorite Turquoise Copic Blend

Elena recommends BG18, BG15, and BG13 for beginners.

Her customers must agree because BG13 is her top-selling BG marker at Violeta-Ink.com

Elena says:

BG13 is that classic aqua color and it blends so well with BG15 and BG18. I like to use this combination together with E blends because it looks very natural. That’s what I did with my butterfly here. But then the same combination can look like a birthday party next to RV pinks.

Let me suggest another combination too: BG09, BG07, BG05. I’ve been using this combination a lot in my own projects recently. The caps for these markers look more blue than green, so I think maybe customers assume they don’t need more blues. But if I’m thinking of super-easy blends, this is the first one I think of. A great value!

I think Elena’s point is a good one, we often look at Copic blending combinations as swatches, alone on white paper. We spend a lot of time trying to decide if we like the three colors and whether they blend well.

But very few people color an entire project using only one blending combination.

Elena likes her BG18-15-13 combination not because it’s pretty by itself but because of how it works well with other blending combinations.

Beginners often find themselves stuck with a collection of oddly clashing, circus colored markers.

This is because they shop for pretty blending combinations rather than combinations which work well together.

As you’re shopping for new markers, take time to think about how each new combination looks next to the blends you already own.

Amy Shulke’s Favorite Teal Markers

Hey, that’s me! You can find me here at MarkerNovice.com or at my artistic coloring site, VanillaArts.com.

My favorite BG blending combination is an unusual mixture of two marker groups: B99, plus BG49 and BG45.

No, that’s not a typo. That’s one very dark blue combined with two bold blue-greens.

I’ve been in love with Duck Blue BG49 since it appeared in an expansion set in the early 2010’s. The problem is, there’s only two markers in the BG-Forty series. To teach with Duck Blue, I had to find a third partner for the combination.

Most instructors would add a lighter marker but to be honest, I don’t use many of the pale Copics. Going darker is more my thing. Adding a deep navy blue to teal feels very fresh and almost preppy-nautical.

Now I know, many beginners think blending combinations should all start with the same letter. Mixing a B into your BG blend breaks the rules.

But would you look at that ribbon? And look at that gemstone!

Broken rules are beautiful!

Like my blend here, I’m an oddball in the Copic teaching community. Because I come from a fine arts background rather than crafting… and because I was in art school before some of you were even born…

I learned to use alcohol markers before blending had been invented.

Yep. Markers were a required study for illustration majors back before art went digital. We used chisel nibs to draw color studies and quick design sketches back in the 1980’s and before. Old school markers were used on thin paper, any blending we did was completely by accident.

Because I was already a professional by the time I saw my first blending combination, the whole light-medium-dark combo concept never made sense. I’d been layering markers to make colors lighter, darker, or genuinely shadier for years.

I’d already been treating markers like paint and I didn’t see the point of changing when I started teaching marker classes.

• So if I was painting, BG49 is very similar to a color called Cobalt Teal…

• If I had Cobalt Teal on my palette and I wanted to make a slightly darker version, I’d add a color called Prussian Blue…

• B99 is the Prussian Blue of the Copic world

B99 - BG49 - BG45 is a blending combination born on a painter’s palette, not looking at marker cap numbers.

Most of my favorite blending combinations mimic the colors I’d use in watercolor or oils.

I don’t really care what letters my markers start with, I’m looking at the color of the ink.

I make blends based on what looks good rather than what conforms to a mathematical cap-numbering rule.

learn with Amy:

What Are The Best Blue-Green Markers for Beginners?

Uh oh— we asked four marker instructors and got four different recommendations:

• BG57 - BG53 - BG000.

• BG09 - BG05 - BG02

• BG18 - BG15 - BG13

• B99 - BG49 - BG45.

They can’t all be best for beginners. What’s the best of the best?

Copic BG markers are all incredibly beginner friendly. These inks blend easily, even with markers from outside the BG family.

There really isn’t a bad marker in the bunch, but still, the four of us had to come to an agreement.

We’ve settled on recommending the BG-Zeros— that’s anything from BG09, BG07, BG05, BG02, BG01, BG000, or BG0000 because this is a number-group with a wide range of values. This group gives you a lot of bang for your bucks.

But if you like the look of another Blue-Green group, go for it!

The BGs are such easy blenders, you really can’t go wrong.

The Key to My Heart

Learn to develop a range of realistic textures in Amy’s “Key to My Heart” class for intermediate Copic users. Class covers matte and shiny metals, grosgrain and satin ribbons, plus gleaming gemstones and dynamic cast shadows.

Color isn’t the key to amazing coloring, it’s the texture!

Which BG’s should you avoid?

Oh boy. Maybe it’s because I’m a Pisces but it’s really hard for me to name a bad aqua marker.

I don’t just love them all, I regularly use them all.

I’ll admit, BG0000 (quadruple-zero) is such a faint color that it should be named “Thin Air”. There’s no there there. Of all my BGs, I use this one the least.

And if I had to name an entire group, I think beginners can wait on the BG-Ninety family. The 90’s are a group of greenish grays which don’t usually appeal to the birthday card coloring crowd…

… but I use them on landscapes a lot. A LOT!

Last, I think if you have BG49 & BG45, then skip BG57 & BG53 or vice versa. They’re not duplicates of each other but they’re very similar and have the same teal vibe. Placed side-by-side, I’d have trouble picking which are 40’s and which are 50’s— they’re that close.

So there you go,

The Best Blue-Green Copic Marker Blending Combination:

If you’re new to Copic Markers, we highly recommend Copic’s BG-Zero series of blue-green markers for those building a small, versatile alcohol marker collection.

BG09-BG07-BG05-BG02-BG000 are excellent first purchases— they blend well and cover a wide range of aqua values.

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Amy Shulke is a professional illustrator who has used Copic Markers since 1990. She teaches artistic coloring classes online at VanillaArts.com and locally in mid-Michigan.

Marker Novice is Amy’s completely free resource devoted to beginner marker education. For intermediate/advanced artistic coloring articles, see her Studio Journal here.

Learn to develop a range of realistic textures in Amy Shulke’s “Key to My Heart” class for intermediate Copic users. Class covers matte and shiny metals, grosgrain and satin ribbons, plus gleaming gemstones. More info here.

Marker Testing: Colors Mentioned Above

Ready to try challenge level coloring?

“Key to my Heart”

A lesson on finish & shine, two of the most under-appreciated elements of texture. Finish and shine are important to telling stories with your artwork.

Intermediate Marker Painting Workshop

Real time coloring, recorded live

Live Workshops are unscripted demonstrations which provide a real look at the authentic coloring process. You’ll see mistakes being made and corrected. Nothing is scripted or over-rehearsed. It’s just like visiting Amy in her home studio.

Log in and color with Amy at your convenience. Anytime access. No expiration dates.

Class was recorded in January 2021 and featured a live student audience. Amy answers questions from the students and offers tips for better marker and colored pencil art.

Copic Markers: What's the Purpose of a Broad Chisel Nib?

I’ve used several brands of illustration markers since 1989. Prior to Copic, the only dual-nib markers I’d seen were novelty markers for kids. Two nibs are still a major selling point; it shows up in all the Copic literature.

“Two markers in one!” sounds like a great value.

Psssttttt, wanna know a secret?

Most Copic colorers only use the brush nib. They avoid the chisel nib because it doesn’t work the way they expect.

Yep, Copic’s Broad Nib (commonly called a chisel nib) is unloved, unappreciated, and rather mysterious to even the most experienced hobby colorer.

Today, let’s look at why Copics come with broad nibs and how to start using your chisel for amazing marker art.

Copic Sketch, Ciao, and Classic Markers come standard with a broad chisel nib. Few people use the chisel because they often leave streaks. Sadly, you’re missing out on a great drawing nib. This article covers how to condition a chisel plus tips for pro artist results from the broad chisel nib.

Note: this article contains affiliate links to products mentioned. We only link to products we endorse and we source them to retailers we use and trust.

Why do Copic Markers Have Chisel Nibs?

“I do not like the chisel nib!”

I’ve taught Copic Marker classes for years and I’ve heard this complaint a lot.

Most people think of the broad nib as “the side I never use” or “the refill end”. It’s kinda sad because if you never use it, you’ll never learn to use it well.

The chisel a great nib; it’s just misunderstood.

The chisel is so unappreciated that for a brief time around 2016-17, many Copic colorers spent goo-gobs of money replacing all their chisels with the newly introduced bullet nib upgrade. That’s $2 x 358 for markers which already set you back $7 each? OUCH!!!

It would have been cheaper to learn how to use the chisel.

“Irish Cottage” colored by the author, Amy Shulke. Copic Markers plus Copic Drawing Pen and Holbein Colored Pencil details on Cryogen Curious White Cardstock. 12x18 inches. Online class here. Artistic coloring kit available here in Aug 2022.

Why do Sketch and Ciao markers come with chisel nibs?

Because they’re illustration markers and illustrators illustrate.

Look, I know it sounds weird but that’s because you’re a colorer.

You make cards or you color stamps and coloring books. If you do draw, you use a pencil or pen, then use Copic to fill the shapes with blending combinations.

You blend for a hobby, right?

But Copics were not invented for blending. They weren’t even invented for coloring.

Illustration markers go back to the 1950s and graphic artists have been drawing with art markers from the beginning.

Meanwhile the blending technique isn’t even old enough to buy itself a beer.

Copic Markers are a drawing tool— you just happen to blend with them.

FYI: Chisel is the generic term for a flat angled marker nib or paintbrush.

• Copic chooses to call their chisel nib a “broad nib” but several other brands call it a chisel nib.

• Copic’s Medium Broad Nib comes standard on the Sketch and Ciao marker styles.

• Copic’s Standard Broad Nib comes standard on the Classic style.

• The Medium and Standard Broad Nibs look and act the same once installed. The difference is the width of the insertion “stalk” end.

Because I’m a dinosaur— in this article, I’ll use the terms “chisel” and “broad” interchangeably.

Drawing with Markers - Old School Style

My Irish Cottage illustration here was drawn and filled using Copic Sketch Broad nibs.

No brush nibs. Nothing is blended.

This style is called Marker Indication and it’s used by architects, interior and landcape designers, fashion, jewelry, and product designers, typographers, art directors, storyboard artists, comic artists, and illustrators.

It’s called Marker Indication because these drawings are used to convey rough ideas. “Indication” means a hint or a symbol. It’s not a fully finished, framable drawing.

Marker indications use fast, loose, and expressive strokes.

The colors are layered, not blended.

Chisel nibs are perfect for marker indications and sketching.

If you’ve always admired the look of art journals, practice sketchbooks, or urban sketching, perhaps indication is a good style for you to explore.

Remember, just because everyone else blends, doesn’t mean you have to blend.

But they say blending creates depth & dimension!

They say a lot of things. Does my cottage here look flat to you?

The dimensional effect you want has nothing to do with blending.

Depth and dimension are the result of using correct values and desaturated color to simulate realistic shape.

It’s about how you use color— the right amount and the right flavor in the right spot. Blending is simply an application method. Blending doesn’t create the shape.

Here, I’ve layered marker strokes to create dimensional shapes. Look at the roof. Can you see the chisel nib stripes? If you zoom in, you can see swishes, blobs, and stripes of color everywhere without a blend in sight.

The color does the work. The chisel nib adds style.

You can do this too!

But first, we need to condition your chisel nibs so that they work properly. Chisel nibs do not work well, straight off the shelf.

What Makes Broad Nibs Ideal for Drawing?

Have you ever tried to draw a straight line with a brush nib? It looks sloppy, doesn’t it? Brush nibs are floppy and leak extra ink when you press hard. It’s difficult to draw lines without bulges, bends, or wandering thick and thin.

The chisel nib is designed for control.

Chisel nibs are made from hardened felt, carved into precision angles. The angles are tailored to keep the nib aligned to the paper with every stroke.

Because the felt is firm, the bevels stay true. The consistent shape of the nib does not warp as you stroke. You will not see variations in line weight (width) when your pressure waivers or your grip changes.

Chisel nibs are dryer than brush nibs, another control feature. A chisel feeds the same amount of ink onto the paper at every stage of the stroke and they rarely leak.

Chisel nibs will never be as juicy as brush nibs, but that’s okay. You don’t need two juicy nibs. The brush nib and the chisel nib are opposites. They complement each other.

Different nibs for different jobs. That’s a good thing!

Why do chisel nibs leave streaks and uneven color?

You tried to color with a chisel nib once… and that was it. The nib left a streaky line with stutters, gaps, or railroad tracks. It wasn’t just one nib either. Every color you’ve tried gives you the same janky line.

So you gave up— because chisel nibs are dumb.

Uhmm, hello?

Fresh chisel nibs do not work properly until you break them in.

And because you gave up so quickly, you’ve never conditioned a chisel nib to the stage where it works buttery smooth.

Dude, you’re missing out!

The inset photo here shows two lines made by Sketch Medium Broad (chisel) nibs.

The light green line on the left (G94) is a properly conditioned nib. See the even color and consistent width?

The darker green line on the right (G99) is from a new but unconditioned nib. See how the nib skidded, skipped, and left bare patches?

Copic doesn’t tell you how to prepare chisel nibs for use.

Sadly, Too (the parent company of Copic) takes a hands-off approach to customer support and education— at least for English speaking customers.

So it’s no wonder you think the chisel nib stinks. Very few hobby colorers know anything about their broad nibs.

Chisel nibs are made from hardened felt. This firmness provides support and consistency of line as you draw.

But because it’s so firm, the long bevelled edge can’t conform to the surface of the paper as you draw. Anywhere the fibers don’t meet the paper, the nib leaves pale streaks or skips.

To get a fully inked line, you must break the edge and soften it.

Once the nib has a bit of give along the edge, more fibers will touch the paper with each stroke.

It’s kinda like running a dried-out sponge over a counter, the whole sponge won’t make contact with the countertop. If you soften it, the sponge can hug the surface better.

But the firm edge is likely not your only problem.

Most people have very thirsty Copics.

Let’s face it, people don’t refill their markers often enough. Even when they do, they use the stupid drip method which underfills your marker by a lot.

Dry markers don’t work well and dry chisels really, really don’t work well.

Do your chisel nibs leave pale streaks or skippy lines? It’s because you’ve set them up to fail.

Condition Chisel Nibs for Beautiful Ink Flow

Breaking-in a broad nib is very easy and man, it makes such a difference!

How to condition a chisel nib:

1. First, inspect your chisel nib! Many colorers have never touched their chisel nibs. Look closely at every nib to insure it’s not crusty or sticky with old dried-out ink. Chisels can go bad if you don’t use them, even with the caps on.

   A chisel in good condition will be dark and almost shiny. The color appears consistent across the whole nib with no white spots, pale fibers, sparkly crystals, hardened zones, or gooey patches.

   Run the nib across some scrap paper. Does it glide smoothly or do you feel gummy resistance? Does it leave streaks that are several shades darker than the ink color? Does it barely make a mark or does it shed powdery residue? These are all signs of dead or dying chisel nibs.

   If your nib doesn’t look fully wet and ready, you’ll need to replace the nib. Cleaning a dead nib is a waste of time and money with an extremely low success rate.

2. Purchase a small digital scale and refill your marker to near-factory weight. Copics always perform best when they’re full. They’re not like a car which you can run until the gas tank hits E. You’ll see a noticeable decrease in your blend quality before you’ve used just one gram of ink.

   Brush nibs are more forgiving when ink is low because you can press harder to squeeze more ink from the nib. This is NOT true with chisel nibs.

   The broad nib is the first nib to show signs of low ink; it will turn matte and pale. Because it’s firm, you can’t push to release extra ink. Broad nib strokes look pale and dry long before brush strokes do.

   Juicy lines come from juicy markers. Refill your marker and keep your markers full for every use to insure your chisel nibs are primed and ready.

   Read my article with specific refilling details here.

3. Fresh chisel nibs skip and leave gaps because the bevelled surface isn’t making full contact with the paper. Soften the WIDE bevel edge by making lots of practice strokes on scrap cardstock. I prefer using scraps of cheap cold press mixed media paper because it’s more abrasive. The goal is to soften the felt fibers slightly so that the edge conforms to the surface of the paper.

Don’t go overboard with the softening process. Using moderate pressure (more than we use for drawing), make thirty to forty 2” strokes. Hard felt skids across the paper; the softer the edge gets, the more friction you’ll feel with every stroke. When the strokes start to look consistently full and juicy, the edge is now “broken” enough for drawing.

Warning: a conditioned chisel nib doesn’t look much different than a fresh nib— the visual change is very subtle. You will feel the difference rather than see it.

4. Do not soften the point! We want a firmer point on the corner of the nib for drawing thin lines. The point will gradually soften and become rounded over time. Actually, a soft and spongey point is how you’ll know it’s time to replace your conditioned chisel nib.

Now a few warnings:

1. Stop coloring with both caps off!

A few decades ago, someone started the silly rumor that removing both caps relieves built-up pressure inside the marker. Now every colorer in the world thinks that they can avoid random ink leaks by taking both caps off when they color.

This is completely false! Copics can not hold pressure! Read my article here for the full story.

Please keep your chisel capped unless you’re using it. Remember when I said the broad nib is the first to dry out when your marker runs low on ink? Think about how removing the cap increases the air flow around your chisel nib. You’re encouraging evaporation.

Coloring with both caps off is the fast way to kill a chisel nib.

It’s also not good for your ink.

Removing both caps slowly darkens your markers over time. One of my very experienced card-making students always colored with both caps off. She’d been doing it for over a decade. We noticed during class that her B34 was darker than my B34, it looked more like a B35 or B36. At first, we thought she had mistakenly refilled B34 with B37 ink but then marker after marker, we noted that ALL of her Copics were darker than they should be.

Leaving a cap off allows solvent to evaporate but here’s the danger: the colorant in the ink does not evaporate. Colorant sticks around after evaporation and it forms the hard crust when a nib dries out. Slowly over time, my student had made her inks thicker and darker by releasing solvent from the open chisel end. Yes she refilled her markers frequently but her ratio of solvent to colorant was always off and it got worse with every refill. Her markers slowly turned darker over time.

There’s no benefit to coloring with both caps off. It damages your chisel nibs and it throws off the color.

Stop doing it.

2. Chisel nibs eventually wear out!

We conditioned your chisel nib by “breaking” the edge and softening the fibers just enough to help it hug the paper better.

But the softening doesn’t stop just because the nib is conditioned. Every stroke breaks the fibers a little more. There’s a definite sweet spot where the edge is soft enough to make a juicy line but firm enough for control. Beyond the sweet spot, the nib gets spongier, you’ll feel more friction, and your strokes will get juicier and darker.

As I said in step #4 above, I watch the longer corner, the “point” of the chisel. When the point gets rounded, squishy, or if the edge starts to look splayed or fuzzy, it’s time to break-in a new nib.

Copic sells replacement nibs because all nibs have a finite life.

Nibs don’t last forever. They all wear out.

Chisel Nibs: Better Than Bullet Nibs!

Earlier I mentioned that a few years back, Copic introduced a bullet nib replacement for Sketch and Ciao markers. They did this because hobby colorers thought the chisel was useless and begged for a bullet nib.

Replacing all the chisels with bullets wasn’t cheap.

And it was also kinda silly.

One of the reasons why I love drawing and coloring with a well conditioned chisel nib is that the chisel already is a bullet nib!

Chisel nibs are three nibs in one: a fine, medium, and broad point.

Your bullet nib can’t do that, can it?

For a broad line that’s almost .25” wide, use the wide edge. Everyone knows about this edge and most people think it’s the only way to use a broad nib.

Hey, there’s a point too. Turn the marker 90 degrees and use the point for a thinner stroke which is basically the same size as the Copic bullet nib.

But wait… there’s more! Turn the marker another 90 degrees to use the corner of the point for a thin stroke.

THIS is ultimately why Copic gives you a Broad nib instead of a bullet.

The bullet makes one kind of line. Just one.

Meanwhile with a chisel and a brush nib, Copic gives you FOUR distinct strokes.

Sketches and Ciao markers are not dual-ended,

They’re Quadra-ended!

In Summary:

Broad chisel marker nibs are not well understood, but once you get to know your nib, you’ll love it dearly.

The Copic chisel nib is not an after-thought. It’s an important part of your marker because it’s an excellent illustration tool.

Condition your nibs, keep the markers full, and learn to use the various edges to color like a true professional.

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“Irish Cottage” colored by the author, Amy Shulke. Copic Markers plus Copic Drawing Pen and Holbein Colored Pencil details on Cryogen Curious White Cardstock. 12x18 inches. Online class here. Artistic coloring kit available here in Aug 2022.

Amy Shulke is a professional illustrator who has used Copic Markers since 1990. She teaches artistic coloring classes online at VanillaArts.com and locally in Michigan.

Marker Novice is Amy’s completely free resource devoted to beginner marker education. For intermediate/advanced artistic coloring articles, see her Studio Journal here.

Further reading on related topics:

Urban sketching

Have you admired Copic sketch journals but didn’t understand how artists get marker sketches on the road?

Irish Cottage: Intro to Line & Wash Technique for Markers

Artistic Coloring Kits are everything you need to challenge yourself with intermediate to advanced level images.

Learn to use loose and expressive strokes to create stylish scenes

Let your skill and creativity be the star of the image, not the stamp. Ideal for large-scale projects using Copic Marker, colored pencil, watercolor, or your unique mixed media.

This project is part of The Underpainters, an advanced coloring challenge group.

Kit includes: digital stamp, suggested supply list, references, color map, and process tips

Supplies for a Copic Refill & Nib Replacement Kit