Copic Coloring Class

How to Choose the Best Stamps for Copic Coloring


What makes a stamp good for realism?

Whether you're scrolling or strolling through a craft supply shop, we've all experienced that magical moment...

You spot the cutest stamp...

You hear harp music and fat little winged babies start fluttering around your head. You can feel your pulse in your eyeballs and darned if you aren't suddenly smelling fresh-baked cinnamon rolls...

I must have that stamp! I'll simply die without it!

But then you hear your father's practical voice and you can just tell he's rolling his eyes.

"Sure kid, but what'cha gonna do with it? Because it's not cheap and at that price, it better not just sit around gathering dust!"

"Oh no, dad. This is a good one! I can make a card for Jean with it, I'll make a card for Aunt Judy, and I'll make gift tags, and use it in my journal, and it could be in at least a dozen scrapbook layouts..."

So you fork out the bucks and cart the stamp home where it sits on your craft table for months, first as a source of inspiration, later as a reminder that you simply must make time for it.

Finally you tuck it away so that you can't hear your father tsk-tsking at you.

Yeah, not all stamps are golden.

Even worse are the stamps that you thought would color up well and yet... somehow... not sure why... but... meh.


I look for a very specific style of stamp image

Not every stamp image works well for Copics.

And the ones that do? Well, they sometimes look a little strange.

Like this month's free digi image.

Father and daughter? |
November's Free Digi Club image, fully colored |

Uhm yeah, the similarities are not lost on me...

But there's a reason I didn't draw the whole nose for you.

And it's not because she's the heir of Slytherin.

I didn't draw nose because you can shade the nose more realistically than I can draw it. Same with her lips.

Noses and lips don't have outlines in real life. If I draw them for you, I limit the amount of realism you can get from the stamp!


the more a stamp draws for you, the less realism you get

What do I mean by that?

I know it's counter-intuitive, but the more lines, or texture, detail, shading, hatchings, cross-hatchings, scumbling, hair, fur, motion lines, dust dots, fru-fru, or miscellaneous doo-dahs... The more the artist draws into a stamp, the more useless that stamp is for realistic coloring.

Simply put: if the stamp artist gets too artistic, there's no room left for YOU to be artistic.

Let's call it the Lichtenstein Effect- all the stuff that makes for a great looking stamp on the store shelf limits your creative potential.

Especially when that detail is on a face or on flower petals.

Unfortunately, really good coloring stamps are hard to come by. Trust me. I go through a ton of catalogs in my never ending quest for teachable stamps. I can't use 90% of the stamps I see. For my most advanced classes, the ones where the students are the most artistic? I'm now drawing stamps because the pickin's are so slim.


Signs of a good stamp:

1. Goldilocks sized.

Small stamps are hard to color with a big ol' Copic brush nib.

And large stamps require too much ink to get a good blend.

Not too big, not too small. Find the stamp size that's just right.

2. Wide open real estate.

The individual shapes that make up the stamp image should be  large enough to allow space for blending or texture.

YOU should add the texture, not the stamp artist!





3. As few details as possible.

A good stamp artist doesn't micromanage the final outcome of the project.

We all know that sheep have curly hair; a good artist will let you decide how curly to color it.




4. Only basic facial features included.

I'm sure the tire tracks on her forehead seemed like a good idea at the time...

And only Jenny from the Block wears black lip liner.

This is what I meant by the Lichtenstein Effect. If an artist makes lots of big black details AND then they pile texture marks on top of that?

Well, how do I say this nicely? This artist doesn't trust you to color it yourself.

If they don't trust you, don't give them your money.

10 qualities to look for in a good stamp for realistic coloring |

5. Few (if any) solid-fills.

Hey, I'm coloring.

So please let me color it myself.

Again with the Lichtenstein effect. Let the colorer decide if the eyebrows match the drapes...

Finding good stamps for realistic coloring |

6. No shadow indications.

You wouldn't believe the number of stamps that I eliminate based on this one feature alone.

I hate those little hatch marks that stamp artists throw in to indicate shadows. It limits what I can do with the stamp!

Worst of all is when the shadows are inconsistently placed!

10 things to look for in a good stamp for realistic coloring |

7. No drawn highlights. This is a big pet peeve of mine!

Highlights are bright spots of light being reflected off an object. Highlights = light.

So why would I want someone to outline my light with a big black line?

You can search the whole world over and never find a real life object with outlined highlights. It simply doesn't occur in nature.

And here's the kicker... what if I want to color the handle on that stamp a very light color? If I color it black or navy blue, I can hide the outline on the highlight... but what if it's baby pink? There's no way to hide that freak of nature outline and I'm stuck with it forever.

No thanks. My rule is simple, drawn highlights = no sale.

Find good stamps for realistic coloring |

8. Complete shapes.

I see this with hair quite frequently. Long flowing locks that lead... uhm... where?

Now I'm not talking about the artistic skips and stutters that you can get with a nice dip pen. I'm a big fan of interesting line quality.

But there are a lot of stamps on the market that have missing information.

Ruffles on clothing are a major offender. It looks great on the shelf but once you sit down to color, you find you're not sure where the edge lies. And halfway into the shape is a lousy time to find out that you need to pull out a multiliner pen to fix the image.

A coloring image lives or dies by the information provided by the artist. Let's say it's an ice cream cone, and cones are triangles, right? But if the artist only gives 2 of the three lines that make up the triangle... sure it looks fancy and artistic on the stamp but it'll be pretty darned hard to color. Especially for colorers that are afraid to draw. How do you color something that is missing a boundary line?

10 things to look for a in a good stamp for realistic coloring |

9. Shapes must be understandable. 

Okay, what is that oval there?

Is it the morning sun rising up behind the stamp? Is it the edge of someone's thumb? Is it part of the Good Housekeeping Seal of Approval?

How am I supposed to color things I don't understand?

I taught a class once where we debated if we were coloring a moose, a reindeer, or a dog with antlers. And you know what? All three sides of that argument had some pretty good points.

A stamp needs to make sense.

10 things to look for in a stamp for realistic coloring |

10. No extra anatomy.

Sadly, I'm not kidding about this.

I find extra stuff all the time.

Mermaids with three thumbs.

Mystery arms or legs that don't seem to belong to anyone.

Extra stems on flowers. Or flower heads with no stem...

It's kind of creepy.

Happy Birthday! Here's hoping all your birthdays have extraneous disembodied limbs!


I'd like to say the problem is getting better...

One would think so...

In a perfect world, the more people who color, the more incentive stamp companies have to churn out lots of good quality images especially designed for realistic colorers.

But sadly, it also means lots of let's-make-a quick-buck stamps and coloring books flooding the market.

When you find a good company, a good artist, a good line of stamp images- spread the word. We're all on the lookout for great new images!

Uour support tells companies to make more colorable images and to dump the stuff that will never color up well.

Good customers support good stamp art!

Why you should ask 3 questions in every Copic Marker class


I've sat on both sides of the classroom- instructor and student

I can honestly say that the best classroom environments are the one where the questions fly freely.

I debuted the first class of an entirely new series last night- a new style and a new set of students. And while I've been teaching for years now, new always brings challenges.

But you know what helps?

When students ask questions.


I want to encourage you to ask at least 3 questions in every class you take.


Well, when I'm sitting on the student side of the room, I don't always hear things correctly.

Maybe the person next to me moved their chair or whispered a comment. Maybe a bird flew past the window. You don't have to have a raging case of untreated A.D.D. to get distracted by the world around you.

It happens. Life happens.

What I've found is that if I miss the key point of what my instructor is telling me, it's sometimes hard to catch up. I often miss even more important points when I spend too much time muddling over what I missed.

I'm paying for that information, so either I raise my hand for a second shot at the info or the class looses value.

It's okay to ask for a repeat.

Here's another thing that I notice: sometimes what the teacher says doesn't match up with my real life observations or experience.

If the instructor has spent 20 minutes talking about how we can mix orange and green to get beautiful blues, either I mis-heard the word "blue" or he needs to make a serous clarification.

Instructors aren't infallible and it's okay to question the premise. If I'm confused, I'll bet other students are too.

It's okay to raise your hand and ask what everyone else is thinking.




But here's the crazy thing that I've learned from the instructor's side of the class room:

I'm a better teacher when you ask questions

1. Sometimes what's in my brain is NOT what comes out of my mouth. My mind is usually whirring away on 14 other matters.

  1. Is the classroom too warm or is it just me?

  2. I should break in 10 minutes but not before I get this next point made.

  3. The tag in my shirt is really annoying.

  4. Whoops, my screen saver just came on.

  5. I need my YG67 back soon, who did I just loan it to?

  6. Stacey looks confused, should I stop and explain better?

  7. I need to sit down soon but if I do, will I look lazy?

  8. There's a customer lurking outside the door, should I acknowledge them?

  9. Why did I wear this shirt? The tag is killing me.

  10. Get dog food on the way home.

  11. Oops, I forgot to mention the thingamabobber, I need to mention it soon.

  12. New Girl, what is her name again?

  13. Betsy is tapping her foot, is that normal or am I boring her?

  14. If I whip my shirt off and rip this damned tag out with my teeth, will anyone notice?

So yeah, sometimes I say YR63 instead of YG63. You need to call me on that!

2. There's this pesky thing called professional bias. Just because I've spent the last twenty years obsessing on art doesn't mean you have. It's hard to put myself back in a beginner's shoes and sometimes I don't even realize I'm talking over your head. Stop me before I blather on too long!

3. No one explains everything perfectly the first time. If my example doesn't make sense, you do me a favor by pointing that out. You help keep me from repeating that mistake in future classes.

4. You know things I don't know. This happens a lot! I don't know craft products nearly as well as I know art products. I also tend to do things from scratch, the hard way without shortcuts. I appreciate it when students say "you know, there's a tool for that, made by the X Company, would that work?" I love to learn new things and when it comes to product info, more is good.

5. It's a class, not a lecture. Classes are a participatory process that should bend according to the needs of the students. Classes are a service, not a product. You shape and improve that service by asking questions.


So asking questions is a good thing, but why 3 questions?

Well, maybe not always 3 questions. It depends upon the environment. If there are 50 people in the classroom, obviously the instructor doesn't want 150 questions flung at them.

But here's my theory of three:

The first question puts you on my radar. You're telling me that you are mentally tuned in.

The second question tells me where you're at. A beginner question indicates that I need to speak plainer and use less jargon. Complex questions mean I can skip the piddly stuff.

The third question kicks the dialog process into a higher gear. You're learning from me, I'm learning from you. Good information pops out during sidebars, stuff that isn't on the syllabus and unplanned tidbits are the gems that make live classes so much better than online videos and tutorials.


In keeping with my theme of three, the top 3 questions from class last night were:

  1. What you're saying is different from what So-and-so said in her last video tut. Why are you doing it this way?

  2. I did just what you said and look, it's not working. Can you show me again?

  3. Can I put you in my pocket and take you home with me?

What a great way to spend an evening!