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.


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.


Blending also kills 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.

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

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.


You can’t keep blending without paying a 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.

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

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.


Iced Coffee coming soon to The Vanilla Stamp Shop!

Iced Coffee is an intermediate/advanced level VanillaArts.com Digital Stamp & Retreat Booklet.  It was originally colored in watercolor and colored pencil but is also perfect for Copic and other mediums.…your options are endless!

Iced Coffee -

For the coffee lover in all of us!  My students love the challenge of coloring food and beverage images. Iced Coffee is an intermediate/advanced level digital image and perfect for those looking to challenge themselves.

This digital image is an original stamp created for the students of my 2018 Cedar Lake Fall Art Retreat. It was originally colored in watercolor and colored pencil but is also perfect for Copic and other mediums.…your options are endless!


This isn't Paint by Number- Change your Copic Marker Blending Philosophy

This isn't paint by number! Change your Copic blending philosophy to increase your artistry. | VanillaArts.com

Back in the 1970’s, if you did crafts, you made them from a boxed kit. We didn’t have the internet for inspiration and instruction. We crafted by the box.

I loved one kind of box more than any other- the paint by number kit. I lived for the moment when all my weird globs of paint on the canvas finally coalesced into a prancing horse or a spray of roses.

The rule in paint by number was to stick to the numbering system. Bad things happened if you went outside the lines, put the wrong color in a spot, tried to blend two sections together, or if you ran out of paint and had to start substituting.

Up close, paint by number paintings are eye-scalding but from 20 feet away? You might be mistaken for Van Gogh… or so the box claimed.


Times have changed…

... but I still see a lot of similarity between the paint by number kits of the disco age and the coloring tutorials being published today.

"Here’s the list of markers I’ve used- don’t change anything. Here’s where I put those colors- don’t change anything."

Copic fans live by the numbering system and you folks get all squidgy in your seat when I start talking about deviating from the project sample.

It’s a tutorial mindset, something you’ve carried around since grade school.

"Here is how to solve the math problem. Here is how to structure a paragraph. Here is how to draw a tree.”

This isn't paint by number! Change your Copic blending philosophy to increase your artistry. | VanillaArts.com

That’s not how art is supposed to work

The do-what-I-do tutorial mindset gives you the impression that there’s one correct way to do something. 

Sure, you tell yourself “there’s not one right way to make art” but you don’t really, really, really believe that in your heart. 

If you did believe it, Pinterest would be a barren Copic wasteland. No marker recipes all over Google and how to color grass tutorials would be impossible to find.

Nope. You say “I can make art” in the same way you say “I can be president someday”. In the meantime, you scramble around trying to buy the same exact markers and pencils that your coloring hero uses.

And here's the catch, if there’s one supremely-ideal marker color to use, then it’s smart to study the original project super-duper close so that you can use R29 in all the same exact places I’ve used it.

That’s nuts.

When you do that, you’re painting by numbers. You might as well be coloring a crying Elvis on velvet because you’re not creating art. You are re-creating someone else’s art.


I talk a lot about developing voice and artistry

One way to do this is to banish the paint by numbers mindset.

This isn't paint by number! Change your Copic blending philosophy to increase your artistry. | VanillaArts.com

Now I’m not saying that you shouldn’t use project recipe guides. Supply lists are actually a great jumping off point for Copic projects. The artist successfully colored a mermaid or a smiling toaster in a way that you found appealing. Go ahead and use the recipe.

But don’t obsess about getting each color into it’s own designated area.

Trying to keep each area a single pure marker color is killing your artistry.

The biggest misunderstanding I see with students is that they think they can point to one area of a project and see one marker color there.

Now Keith Haring worked that way and so did Patrick Nagel but their work is purposefully flat. Artists who want dynamic depth and dimension layer their colors. You can’t just put your finger on one place and say “that’s pure sap green paint” or “that’s YG93”.

Van Gogh had some amazing yellows in his work not because he purchased good tubes of yellow paint but because he mixed, layered, and smushed his colors together to create original yellows.


I think most marker colorers get this concept

After all, you love to blend and that is mixing colors... sort’a.

The problem is that you think of a blend as a way to get from R29 to R22 smoothly.

An artist thinks about what color R29 and R22 might make when combined.

See the difference? You’re blending as a transition. I blend as a creation.

But I’m not tapping into any magical powers to do this. There’s an easy way to move from transition blending to creation blending:


Expand the size of your blend zone

This isn't paint by number! Change your Copic blending philosophy to increase your artistry. | VanillaArts.com

Yep, it’s that easy. Instead of trying to get from one marker color to another as quickly as possible, do it the leisurely laid-back lazy summer’s day way-

Double or triple the size of the area where your markers overlap.

Instead of jumping, meander.

In that no man’s land you’ll begin to develop amazing new colors.

Colors that are unique to you.

You can hand two people the same two markers and each of them will blend the colors in slightly different proportions. You’re not going to see the same two shades from every person. Heck, try it yourself sometime- you won’t blend the same color today that you will tomorrow.

The colors you create in expanded size blend zones become part of your artistic voice.


Here’s a little secret-

Your markers are begging for an expanded blend zone. 

Copic inks are ideal for the layering process. They’re transparent color and when you get enough layers onto the paper, they self-smooth all on their own. Your markers are waiting for the space to merge and swirl. They want create new and glorious colors; it’s what they were born to do. You’re holding them back with artificial paint by number boundaries.

When you color by numbers, using one marker per area, that’s like whistling a tune.

When you paint with your markers, layering and creating new colors over large areas, that’s like hiring the symphony to back you up. It’s the same song but a much richer experience.


Guess what else happens when you expand the blend zone?

Layering your markers decreases the need to own all 358 Copic markers. 

Because you aren't relying on a single marker to color each area, you don’t have to run out to Michaels for the Y35 needed to finish a project. 

Instead, you’ll be able to create the look of Y35 by layering a medium yellow over a light orange or by layering a light yellow over Y38. There are lots of ways to get there that don’t involve ordering Y35 from Amazon at 11pm on a weeknight.

And there’s another benefit to large blend zones-


Large blend zones make smooth blending easier

Have you ever tried going from 0 to 60mph in five seconds on a skateboard?

That’s a newbie trying to smooth blend in a short zone. Expanding the zone gives you more room to make the transition satiny and subtle. Quick transitions are hard, even for the pros!

So no. I can not point to a spot on my project and say “here’s nothing but R29”

In my projects, single color areas are pretty darned rare. 

I layer almost everything, so my answer is more like

“here’s the R29 with a bit of B32 underneath and there’s some R17 and maybe some R24 over the top and that’s all sitting below a light buffing of Poppy Red pencil… and… uhm, there might be some Tuscan Red there too, or maybe that’s Aqua, I can’t remember.”

I don’t paint by numbers anymore.

You don’t have to either.

"Gray Matter" is a challenge level, online Copic coloring lesson featuring this cherry stamp. Learn to underpaint for realism, volume, and depth with Amy Shulke of Vanilla Arts Company. | MarkerPainting.com

Do you like the cherry image featured here?

Color your own cherries in my 2 hour online workshop.

"Gray Matter" uses the cherry image shown to teach an underpainting technique. Learn how to develop depth and realism by adding gray underneath your bright Copic marker colors.

Digital stamp, printable learning aids, and multiple videos help you move from beginner to intermediate level coloring.

More info here.


Stop guessing where the shade goes! Learn to use Copic Markers with confidence.


You've got a great stamp image and lots of pretty Copic Markers

Now what?

A lot of people get stuck right there.

Either they panic because they don't know where to start or they plow onward despite feeling lost.

Neither tactic results in good coloring. Neither method will ever result in the kind of coloring you admire on blogs and YouTube.

And it's not about blending. I know, some people will tell you "Go take a Copic class and learn how to blend. Then it'll get better."

But blending skills are not enough. You can be the best blender in the world...

People could fall at your feet in awe...

The angels might cry over your fantastic blending skills...

Your coloring friends might give you nick-names like "Silkie" or "Smooth Rider" and they might spread word about your amazing abilities to towns, villages, and even the most remote hamlets...


But it's all a lot of nothin'

if you don't know where to put the shade

How many blog articles on better blending have you saved?

How many inspirational projects have you pinned?

How many times have you patted yourself on the back for rescuing a blended are that was quickly heading south?

How many times have you wished upon a star "Oh, if I could only blend like that lady that blog the other day..."


You're wishing for the wrong thing

Anyone can blend. There's no special skill involved; in fact, many people stumble into good blending techniques from simple experimentation and practice. I hate to break it to you but blending isn't that hard.

Copic Markers want to blend. It's a chemical thing that's embedded into their physical makeup. They're a single purpose tool whose whole reason for being on this earth is to blend.

All you have to do is get out of the way and let the marker do it's job.


Smooth blending is n0t the reason why amazing projects look amazing

It's all about the shade.

If you want to improve the look of your finished marker projects, you have to stop guessing where the shade goes.

I know you've done it:

"Hmmmm... maybe I'll put the dark markers over in this corner..."


"I'll put some shady colors over on this side because that's what this handy little sunlight-directional arrow chart is telling me to do..."

Shade is the key to coloring with depth and dimension but if you're always guessing where it goes... well, I hate to break it to you, but that problem isn't going to solve itself.

Depth and dimension doesn't just happen because you included some shady areas in your project. You can't just thow some darks on willy-nilly. Nope, you've got to choose the correct colors for shade and get those colors into the areas where it will look the most natural and realistic.

Realism comes easily when you understand where to place your shade and highlights. But it's not a skill you can learn in three blog posts.

Most Copic instructors focus on blending skills or playing with fun and trendy techniques. They teach you how to color like a crafter.

I approach the subject differently.

Marker Painting Foundations teaches you to paint with your markers, to use your markers the same way artists and trained illustrators do.

We break down images in order to understand their parts and what the shapes represent. Then you learn how to apply the same mental processes and techniques to other images. 

And don't get intimidated, this is not an advanced class! This is beginner level instruction designed to get you started using Copic markers correctly, right from day one. The projects are all beginner level but the results you'll get look advanced!


Enroll at any time, work at your own pace

Students always start with lesson one, so you'll never feel as if you're the lone newbie on the block.

Twelve weeks and twenty six lessons and over a dozen digital stamps designed to challenge your thinking.

Rethink the way you approach markers. Color confidently with a better understanding of color, shade, shadow, light, and highlights. 

You can do this!


Online Copic Course- break the Blending rules! Marker Painting Foundations, Week 4


Be good and follow the rules...

But what if the rules are silly and rather useless?

And what if the rules lock you into a lifetime of flat, bland, childish coloring?

You've been sold a bill of goods

Copic Trios are not the solution to your flat coloring problems! | VanillaArts.com

You fell for the snake oil and bought the Brooklyn Bridge.

To blend Copic Markers smoothly, choose markers from the same color family. Always match the first (intermediate) number, then select markers whose final number are at least 2 spaces apart.

I'm not saying the trio method doesn't work. Markers matched according to the trio rules do blend rather well.

But trios are a complete snoozefest.

They also lock you into flat, cartoonish coloring. Do you want depth, dimension, and realism?

Then you have to break the rules.


I understand the desire for rules

A lot of Copic fans come to coloring from the craft world where projects are laid out for you in numbered steps:

To color a martini:

  1. Starting with a YG95 marker, gently fill in the entire olive with a single coat of marker. Do not leave any white space or go outside the olive's outline.

  2. With a YG97 marker, add a small crescent shape to the right side of the olive.

  3. yadda, yadda, yadda...

Tutorials like this make self-teaching easier, right?

So do recipes. "Color a perfect Maraschino Cherry with these three markers!" 

Recipes not only take the guess work out of coloring, they also act as an escape clause for colorers.

So this martini project doesn't look very real but it's not me that failed, it's the recipe. I could color like a professional if I could just find the perfect blending combination!


If you want to color with depth & realism: rethink the rules

Actually, you need to pitch the rules right out the window.

And burn your recipes in a backyard bonfire.

In my new beginner level coloring course, I teach marker students to approach color as painters do, using color as a flexible tool rather than a set formula.

You don't have to be a formally trained artist to use color instinctively and convincingly. Everyone can use painterly techniques.

You don't have to be locked into a lifetime of coloring tutorials.

You can learn to color independently without the need of recipes and rules.

Marker Painting Foundations- giving you the techniques and mindset to color with serious depth and realism. | VanillaArts.com

break the rules. color like a rebel.

Marker Painting Foundations is a twelve week course with 26 lessons.

Real lessons, not demonstrations. We use real images, not exercise boxes and spheres.

In weeks 1 to 3, we work on the standard blending thing. How to do it, how to trouble shoot it, understanding from a chemical level how blending works. It's basic stuff but with my usual Vanilla twists.

Marker Painting Foundations help you break the Copic Marker rules. Because you can't make art if you're handcuffed to blending trios. | VanillaArts.com

But starting in week 4, we get crazy and branch out into areas no other marker course goes:

  • rebel blending

  • value teeter tottering

  • shade versus shadow

  • color sculpting

  • underpainting

  • pushing with desaturation

  • complementary coloring

  • surface variety

  • hot spots and low lights

Uhm, yeah. This is all beginner stuff too. This is the stuff that crafty tutorial writers don't know or don't understand.

My goal isn't to teach you how to color this stamp or that stamp. I want to give you lifetime tools.

I want you to blend like a rebel and color like an artist.