Copic Markers are NOT Lightfast: How to preserve your coloring Projects

Copic Markers are NOT Lightfast: How to preserve your coloring Projects

Do you know that copic marker is not permanent?

Many crafters have grown quite accustomed to the term “archival”.

Lightfast, permanent, and archival products are now so standard in the paper crafting world that people automatically assume all premium products are lightfast. But that’s not true in the art world…

Copic Marker blending problems? Refill your markers for instant improvement!

Copic Marker blending problems? Refill your markers for instant improvement!

Do you rub and scrub and work really hard to make the blend smooth and it just doesn’t work? Are you beginning to think that you’ll never blend well?

Hmmmm…

Can I ask you a question?

One Tiny Thing to Improve your Copic Coloring: Buy the right freekin’ paper!

 
Simple steps you can take to immediately improve your Copic Marker blending- Copy paper is not Copic paper. Good blends are more than skill, you also need the right paper! | VanillaArts.com
 

“Hey folks, what paper should I buy for Copics?”

I see this question a lot on marker discussion boards. And usually eight to ten very nice and well meaning colorers respond with:

“I love frog paper!”

“Hammermill is awesome!”

“I”ve been buying coverstock for twenty years now and it’s the best!”

“You can’t beat the paper that I found stuffed behind a dumpster in the alley  off 53rd Street!!!!”

Okay, maybe not that last one… but honest to Betsy, I want to stab myself in the left eyeball with a flaming marshmallow on a sharp stick every single time someone recommends the wrong paper for Copic coloring.

Yes, I said it.

The wrong paper

Office grade copy coverstock is the WRONG, WRONG, WRONG paper for Copic coloring.

I always preface these One Tiny Thing articles with a warning that there are no amazing tricks that will instantly improve your coloring with zero effort on your part.

There are no marker life-hacks.

But that’s not entirely true.

There is one thing which absolutely, positively, and most assuredly will improve your coloring instantaneously.

Simple steps you can take to immediately improve your Copic Marker blending- Copy paper is not Copic paper. Good blends are more than skill, you also need the right paper! | VanillaArts.com

Use the right freekin’ paper.

Let me ask you this:

How many races would Dale Earnhardt have won if he’d decided that Coca Cola was cheaper than gasoline?

Would Michael Jordan have dominated the basketball court if he had worn six inch peep-toe stilletos?

How far would Neil Armstrong have gotten in a space suit made up of duct tape and Hershey’s Kiss wrappers?

Ohhhhh… so some things are not interchangeable?

Huh. So you totally understand that to do something well, you need the right tool for the job?

And yet you still try to blend Copic Markers on paper designed for computer printers?

Paper is a tool

In fact, I firmly believe that your choice of paper is far more important than which brand of alcohol marker you use.

The paper is more important than the marker.

You can get good results from the worst markers on great quality paper.

Marker paper and marker cardstocks are designed for use with marker inks.

It’s not a case of finding a paper which doesn’t bleed through or get feathery. Lots of papers are thick enough to prevent bleed through and there are a ton of papers which do not feather. That doesn’t make them good for Copics.

Marker paper is more than thick and smooth.

Quality marker paper facilitates blending.

On the right paper, you don’t have to do the blending. The blending happens automatically. 

Specialty Marker paper and cardstocks don’t just allow you to blend well, they actually make the blends happen.

Students who come to me with blending problems often assume it's something they're doing wrong. In most cases, a simple switch to marker formulated paper solves at least half of their blending problem.

Paper is incredibly important

I can’t state that firmly enough. Your choice of paper is the number one thing affecting the look of your blends.

Paper is more important than your marker selection.

Paper is more important than your blending combinations.

It’s more important than your application technique. 

It’s more important than artistic talent.

Simple steps you can take to immediately improve your Copic Marker blending- Copy paper is not Copic paper. Good blends are more than skill, you also need the right paper! | VanillaArts.com

Paper is a vital tool. Substandard paper gives you inferior results.

Look, I get it. You’ve shelled out a bunch of money on Copics. You’ve blown your budget and you can’t stand to think about spending another fortune on paper.

Here’s my advice: suck it up and spend some money on decent paper.

When you purchased the markers, you essentially signed up for the cost of the correct paper.

And you won’t get a lot of sympathy from me about marker paper prices given that I routinely shell out four to five times that cost for my watercolor and illustration papers.

Good paper is worth every penny

Artists are very particular about paper because we’ve learned from experience that the price of paper is part of the cost of doing art. We’re willing to pay for good paper because we see how it improves our process and our projects.

Colorers don’t get that life lesson quite as fast because they’re generally not coloring multiple projects every single day. And because most colorers never try anything other than inappropriate computer paper, they don’t realize how much easier blending can be.

how would you react?

Let's say your dumb cousin Jimmy called you up and asked to borrow your dog. Someday he wants to race in the Kentucky Derby but he can’t afford a horse yet. So he wants to ride your Labradoodle until he scrapes together enough money for a thoroughbred.

I feel like that sometimes when I’m talking with people who will complain all the live-long day about their blending problems and yet they won’t switch to a better grade of paper.

“But what if I try a different marker combination? Or what if I take more classes? Or what do you think of that tutorial that recommends coloring upside-down by the light of the full moon?”

Simple steps you can take to immediately improve your Copic Marker blending- Copy paper is not Copic paper. Good blends are more than skill, you also need the right paper! | VanillaArts.com

Or how about if you get the correct paper to go with your markers?

Scrapbookers understand that some decorative papers are better than others. I’ve been told by more than one cardmaker “Don’t get those multipacks of paper from the dollar store. They’re not as nice as the good stuff!”

I’ve also heard from colorers and art journalers that you have to be careful about the paper quality in coloring books and journals.

So why do so many people not make the same connection about Copic Markers?

Why do so many colorers wholeheartedly recommend the wrong type of paper for marker coloring?

Copy paper is not Copic paper

When you recommend frog paper, you’re essentially saying “This is the best of the worst kind of paper. But hey, enjoy!”

I’ve got a few other articles about paper here in the Studio Journal. The links are at the end of this article. I encourage you to read them and think about the paper that you use.

Selecting a proper artist grade marker paper is essential to the quality of your projects.

Unfortunately, these great papers usually cost more than computer paper. That's because paper for copy machines and printers is a low-grade paper that's designed to be inexpensive and disposable.

If you’re cheaping out and selecting copy paper based on it’s bargain basement price, then you need to beware. You aren't getting the great deal you think you are. There are hidden costs-

You are using extra ink to smooth your blends. 

You are starting over more frequently because of unfixable mistakes.

You are paying for it emotionally every single time you crank out yet another mediocre looking project.

Part of your blending problems have nothing to do with you. It’s the paper.

Using the best marker cardstocks and papers available is One Tiny Thing you can do to improve your coloring.

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What price would you pay for a perfect Copic Marker Blend?

 
Do you obsess about silky smooth Copic Marker blends? Why your quest for the perfect blend is killing your depth and dimension. | VanillaArts.com
 

Remember that feeling you had when you first learned to ride a bicycle? The speed, the wind in your face, the feeling that you’d fly to the moon if you could just pedal fast enough. You probably spent the entire summer riding up and down the street. That first burst of freedom is pure joy.

Copic colorers experience the same thing when they finally pin down the mechanics of smooth blending. And once we get a taste of it, we’re hooked. We will blend and blend and blend… just for the sheer happiness of it.

I’ll admit it, even after years of marker experience, I still love it when a satin smooth blend appears. It’s a special kind of satisfaction.

But at what price?

Yes, there’s a price to be paid when you blend.

Most colorers don’t even realize they’re paying for blends. They’ll blend all day long- smoothing and re-blending their projects repeatedly without recognizing the damage they’re doing to the overall image.

Your quest for the perfect blend sacrifices color value

Yep. Every time you blend, you loose some of the deep dark color that is essential to realism.

The more you blend, the more value you loose.

What is value?

Value is a measurement of the strength of a color. You can’t say “light” or “dark” because light and dark are relative terms. Lighter than what? Darker than what? Is dark yellow darker than light blue? 

Lighter or darker is an opinion.

Not value though. Value is a exact way of measuring the strength or visual potency of a color. Now I’m not talking theoretical art terminology here. You use color value measurements all the time; you just don’t realize it. 

Do you obsess about silky smooth Copic Marker blends? Why your quest for the perfect blend is killing your depth and dimension. | VanillaArts.com

In Copics, the last number on the marker cap indicates the value of the ink color. Copic has computer measured the strength of that color and they’ve told you where it rates on their value scale.

That last number is consistent across all the color families and it sets up a relationship between colors that you might think are completely unrelated. A Y38 is the same value as a BG78 because they both rate an 8 on the value scale. R17 measures the same value as E77 even though they’re from completely different color families.

Value is important because capturing accurate values are one key to realism. In order to make something look rounded and three dimensional, you don’t just need shade, you need shade that’s deep enough and potent enough to simulate depth. If you skimp on the values, your shaded areas aren’t strong enough, and that flattens out your coloring.

And as I said before, blending robs your project of value.

Why?

Because we blend with our middle and lighter Copic markers.

In Copics, a low last number indicates a higher level of colorless blender in the ink. Colorless blender destroys value. E33 has far more colorless blender in it than E37. So when I hit that E37 with a low value brown marker to blend it out, I’m moving some of that level 7 color around to make the entire area feel lighter and less potent. The more you blend, the more that E37 starts to look like E36 or E35.

That’s important!

You may have used a dark marker but it no longer carries the original value after you complete the blending process. Once you’ve blended it, it’s no longer as dark as it once was. You have removed some of its value.

This is a serious problem for a lot of intermediate level colorers who tend to be obsessed with blending. They’ll blend and reblend their areas, chasing the thrill of a perfect blend…

...and then they wonder why all their projects look flat.

Blending kills value.

Do you obsess about silky smooth Copic Marker blends? Why your quest for the perfect blend is killing your depth and dimension. | VanillaArts.com

Blending also kills contrast

Contrast?

Contrast is the difference between two values. There is very little contrast between E33 and E34, the colors are too similar. Conversely, there’s a lot of contrast between E33 and E39.

Artists care about contrast. The most pleasing images feature contrast AND a good range of values within that contrast range. 

The Iced Joe illustration shown here uses markers that end in 9, 7, 5, 4, 3, 1, and 0. That’s almost a full range of Copic values from the darkest parts of the coffee to the palest gray of the glass mug. Realism relies on value and a balanced contrast range.

But think about what would happen if I started obsessing about my blends. 

If I hit my coffee browns (E89 and E59) with lots of E35 to improve the blend, that lighter marker will eat away at my level 9 browns, lowering their values to maybe 7s and 6s. Even though I used E89, it won’t look like E89 anymore. 

And it won’t look like black coffee anymore, it’ll look like chocolate milk.

Middle value washouts happen when you blend so darned much that you equalize the values between your lightest areas and your darkest. 

You chase away the value and you ruin the contrast in the attempt to create a perfect blend.

Blending flattens your projects because it decreases values and equalizes contrast. And I hate to put you in a box, but 90% of the time when someone comes to me with the old “why does my coloring look flat?” question, it’s a case of an intermediate level colorer who blends the heck out of every project. 

Your new skill is also your downfall.

Do you obsess about silky smooth Copic Marker blends? Why your quest for the perfect blend is killing your depth and dimension. | VanillaArts.com

You can’t keep blending without paying the price

Some amount of reblending is good but when you overwork your coloring in the quest for the perfect blend, you waste all the dark ink that you originally applied. “One more try” can be the kiss of death for depth and dimension.

Here’s the other problem: 

When you over-lighten the color of an object in the blending process, it not only flattens out, but sometimes people can no longer identify what the object is anymore. 

I can’t tell you the number of coffee projects I’ve seen where the coffee was peanut butter brown. I’ve also seen a lot of pink apples and yellow pumpkins. The colorer may have started with coffee brown, apple red, and pumpkin orange but when they blended the project to death, they killed off the color identity. Mis-colored food is confusing, unappetizing, and unrealistic.

Now I’m not saying that you should never blend a second time.

Instead, I want you to be aware that additional reblending passes will eat away at your value and contrast.

Knowing is half the battle. 

If you’re aware of the damage your’e doing, you’re less likely to keep doing it. Mindfullness helps curb your tendency to reblend and smooth an area for the third, fourth, or fifth time.

In the long run, that perfect blend means nothing if you’ve lost your values.

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