These artworks are published in the APRIL 2026 issue of COLOR Magazine.

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

• Coloured Pencil Pushers
• Colored Pencil Corner
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• Creating with Colour Pencil

Princess Aria by Brenda Eneboe
10.5 x 8.5 inches
Prismacolor, Luminance, Holbein, Polychromos, Pablo colored pencils on Grafix Drafting film. (Artist's own reference photo.)

Several years ago, I snapped a photo of my granddaughter, Aria, trying on a veil while her aunt was trying on wedding dresses. I was looking for something to give Aria as a baptism gift recently, and I decided to draw this portrait. I just love her expression. Attempting to draw lips of a child at that angle and making them look like they are grinning was a definite challenge. Her face and hair are all drawn with colored pencils, and I tend to use a lot of pencils when I draw. I placed my drawing over a small reptile pad for heat under the drafting film and used a cotton bud to smooth out the colored pencil as I drew. I experimented with markers for the first time on drafting film and used them as an underpainting for the dark blue and flowers of her blouse and then went over the area with colored pencil to add detail and shading. It gave the feel of a watercolor and looks amazingly like the actual fabric.

For the brick background I used a wash of marker behind the film, which was a happy mistake. I was trying to remove the marker color I put on the back, and it left a nice warm tint, so I then went over the top with colored pencil for the details. I loved the painterly results, and I may try this again with a future piece, but with a little more planning. What made this artwork special for me is that Aria and her parents love it and even a tear or two were shed when they saw it.

About Brenda Eneboe:

Brenda Eneboe has lived in Arizona since 1975. With a degree in graphic design, life took a turn. After retiring as a jury coordinator, Brenda picked up colored pencils and began learning new techniques. She is active in CPSA and is the president of the Phoenix chapter. Her artwork has been published in magazines, exhibited online and in galleries.

See more at www.facebook.com/people/Brenda-Eneboe-Art

Unbridled Force by Nancy Quah
35.4 x 18.9 inches
Polychromos colored pencils on Arches Aquarelle. (Photo reference from Pixabay.)

When I created this piece, I aimed to capture a single, undeniable moment of release. The horse is shown in full stride, muscles alive with motion, hooves breaking through water. It’s not calm or decorative; it’s presence, momentum, and raw intensity when power is no longer held back. Without a rider or restraint, the horse moves by choice, not command. The lifted leg and spray beneath the hooves reflect a force from within, pushing through uncertainty and resistance without hesitation.

I focused on anatomy to make strength believable: muscles engaged with purpose, power controlled and confident, not aggressive. The tension and calm focus suggest mastery and self-awareness. The soft, atmospheric background lets the horse tell the entire story. Light and shadow emphasize its form and motion, giving it an elemental presence beyond just an animal.

This work expresses the moment when restraint gives way to action; when strength, freedom, and will align, releasing energy to run its course.

About Nancy Quah:

Nancie is an artist with range of interests. She likes to venture into new ideas. She likes to try new ways of presenting her talent in many forms of arts. And amazingly she excelled in all her new attempts so far. She’s an artist like a jewel to be polished and soon find a shine.

See more at www.nanciesjournal.blogspot.com

The Surprise Traveler by Pam Kromenacker
20 x 16 inches
Caran d'Ache Luminance and Pablo, Derwent Drawing and Lightfast, Holbein, Prismacolor colored pencils on Pastelmat. (Artist's own photo reference.)

In 2016 I traveled to Cuba with my mom. This is where I found the spark to create art after 50 long years. The vitality and creativity of the Cuban people was like nothing I had ever experienced. Color in Cuba is an understatement; it saturates you. I was constantly shooting photos trying to capture everything.

Back at home going through my pictures, I was startled by this photo. This is a busy Cienfuegos street scene; it was so very hot and humid with a storm approaching. To my surprise, the man on the bicycle looked so much like my dad, who had passed away, that I had to check twice. Maybe he was checking on us? He also loved to ride his bike. I added my mom and myself to the drawing. This shot always stuck in my mind: the day dad joined us in Cuba.

About Pam Kromenacker:

Pam discovered the spark to create art later in her life. Drawing portraits and people is what she finds most appealing. Her husband, children and grandchildren are her favorite muses. She is amazed at how her hobbies and interests have pleasantly taken over her life.

Download the digital version of the magazine for just $4.99, or subscribe and save! Each issue is packed with step by step projects, critiques, colored pencil tips, artist profiles and much more.

These artworks are published in the MARCH 2026 issue of COLOR Magazine.

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

• Coloured Pencil Pushers
• THE CREATIVE COLOR PLACE - for Color Pencil Artists
• Colored Pencil Corner
• UKCPS Members Group
• Bonny Snowdon's Coloured Pencil Group

When I received my first colored pencils and a coloring book at the age of six, I never expected that my passion for art would become an integral part of my life. Despite facing obstacles and long breaks that slowed my progress, one key motivation brought me back to this passion: a call for a group exhibition of colored pencil art on Instagram. This opportunity marked a new beginning for me.

To prepare for this exhibition, I purchased a set of Prismacolor pencils to add to my existing collection: Faber-Castell Polychromos pencils, Derwent Studio pencils, and Lyra watercolor pencils. The next step was to select an appropriate surface and a reference photo. Therefore, I decided to draw a colorful bird on Steinbach paper (155 gsm), a non-textured surface that facilitated pencil movement and allowed for the application of multiple layers. For other artwork, however, I preferred using a whiter surface rather than Steinbach’s cream-toned paper. Consequently, I created a piece titled “The Polished Rocks,” based on Sally Robertson’s reference image, on Strathmore Bristol Vellum 300 Series, a textured paper that enhanced both the glossy effect of the stones and the color saturation. This piece won the Advanced Winner prize in Colored Pencil Magazine’s August 2019 Art Challenge.

Advanced Winner in Colored Pencil Magazine’s August 2019 Art Challenge

Gradually, I expanded my collection of colored pencils and papers by reading about the experiences and recommendations of professional artists.

My current materials include:

Pencils: Caran d’Ache Luminance, Caran d’Ache Pablo, Derwent Lightfast, Derwent Drawing (Chinese White and Ivory Black), Holbein, along with individual Faber-Castell Polychromos pencils.

Papers: Stonehenge White, Arches Hot-Pressed watercolor paper (300 gsm), Fabriano Artistico Extra White watercolor paper (300 gsm), Clairefontaine Pastelmat, Strathmore Bristol Vellum 500 Series, Rising Museum Board, and Grafix Drafting Film Matte, 2-Sided .005.

However, when it comes to colored pencils, there is always room for more. Among a wide variety of options—based on binder (oil, wax, or water-soluble), quality grade (student or artist), and lightfastness—I prefer working with a combination of high-quality colored pencils. I typically begin each piece with the first layer of Polychromos, followed by Prismacolor to blend the pigments. For subsequent layers, I mainly use Luminance to build depth, then return to Polychromos to add fine details.

Comparison of colored pencils on Stonehenge White; from left to right Holbein, Caran D’ Ache Luminance, Derwent Lightfast, Faber-Castell Polychromos and Prismacolor

Based on this technique, I require surfaces capable of holding many layers, such as Stonehenge paper, which also offers archival quality (acid-free, 100% cotton).

Beyond pencils and papers, I rely on two essential tools—erasers and sharpeners—to create specific effects or even reverse certain processes.

I use three types of erasers:

Faber-Castell PVC-free eraser: A standard eraser that allows me to remove layers of pigment without damaging the tooth of the paper and to prepare it for correcting mistakes.

Faber-Castell kneaded eraser: This type of eraser can be shaped into different forms to create texture or lift subtle layers of pencil.

Derwent battery-operated eraser: When I want to create intense highlights in the painting, such as reflections on water droplets or in the eye, this eraser is particularly effective.

My Three Essential Tools: Sandpaper Block, Electric Eraser and Manual Sharpener

For sharpening pencils, I use the following tools: Kum double-hole wedge sharpener, CARL Angel 5 Royal manual sharpener, iPoint Halo electric colored pencil sharpener, and a sandpaper block.

Electric, manual, and regular sharpeners may sound similar; however, depending on the core diameter or the composition of the wooden casing, I choose among them in this order. I use the CARL sharpener for Polychromos and especially for Prismacolor to prevent repeated breakage; the iPoint for thicker pencils such as Luminance; and the Kum for Derwent pencils.

I also use sandpaper to keep my pencil points sharp while preserving the length of the pencil.

Overall, my journey in colored pencil art is an ongoing process of learning, experimentation, and growth. Recently, I have focused on how different surfaces affect color, layering, and texture by comparing colored pencil charts. This comparison helps me better understand materials and improve my artistic practice.

Farideh Afshani:

Farideh Afshani graduated with an MA in Social Communication Studies. After winning a colored pencil art challenge in August 2019, she truly believed this was her path forward. Therefore, she has decided to organize a solo exhibition featuring one of her country’s iconic cultural handicrafts in the near future.

Instagram: farideh_afshani

Sassy Sax by Brenda Morgado
9 x 12 inches
Polychromos colored pencils and Derwent Inktense blocks on Fabriano Artistic hot-press 140# watercolor paper. (Reference Photo from Pixabay.)

I have a deep passion for musical instruments, and the saxophone featured in the reference truly captivated me with its beauty. Having been a hairstylist, I was especially drawn to the striking image of a woman flaunting flowing hair and an alluring dress. As I painted, I infused the artwork with my own interpretations, elevating the colors of the clothing and transforming the hair into a vibrant red. The strong, sexy vibe of this reference stood out to me; this woman excelling in a space often dominated by men, holding a saxophone, adorned with her gorgeous red hair and stunning dress. The background, inspired by the original, wasn’t meant to be exact. What mattered most was the color. I applied Derwent Inktense Blocks with water and a brush, allowing it to drip and move across the paper. I gently blew on it to control its flow. For the edges, I sometimes smoothed or defined them with Faber-Castell Polychromos colored pencils. I used colored pencils on her eyes, eyebrows, nose, lips, fingers, and hands, applying color subtly while emphasizing shadows on the dress and in the saxophone details. I’m always drawn to intricate elements; they present a delightful challenge.

About Brenda Morgado:

Brenda Morgado is a self-taught artist who learned through various online avenues and tutorials by her mentor Cynthia Knox. She works with acrylics, watercolors, pastels and her favorite: colored pencils. Brenda lives in Tampa, Florida, is married, and has two daughters and two grandchildren.

See more at www.brenda-morgado.pixels.com

This Land Is Our Land by Jim Foutch
14 x 20 inches
Prismacolor colored pencils on Arches hot press watercolor paper. (Photo reference by James C. Denton, used with permission.)

I was immediately drawn to the face of this Native American chief. It’s such a gorgeous picture of a man whose whole existence seemed to be almost hidden in each wrinkle on his face. His eyes were filled with both a powerful sense of pride and a greater sense of loss and defeat. The headdress seemed to have more colors than I could render without a diligence of patience and pride. As a small child, I couldn’t get enough of all the stories of the cowboys and Indians, which seemed to invoke a sense of victory each time the cowboys were victorious in a battle. It wasn’t until I was an adult that I realized they weren’t victories at all. They were blatant acts of violence.

About Jim Foutch:

Jim is a nationally renowned colored pencil artist who has been published in more than 25 different publications. His early works were mostly of sports figures as well as Latin American magazines such as Sonos. He has recently branched out to a larger genre of images such as portraits of human faces and vividly colored animals.

Fetch a Rainbow by Joanna Boultwood
11 x 14 inches
Luminance and Polychromos colored pencils on Bristol Board 500 series. (Photo reference from MAVI, used with permission.)

This artwork is deeply personal to me because it represents a turning point in my creative journey. For years, I poured my heart into painting pet portraits, capturing the love and personality in each animal. But over time I felt a quiet pull to create something different, something that reflected not only what I saw but what I felt. This chrome rainbow metallic dog is only my third reflective piece, yet it already feels like a symbol of transformation: a blend of past and future, realism and abstraction. The mirrored surface challenges me to see beyond form and to explore how color and light can express emotion and energy. Each curve of chrome catches a world of shifting hues, reminding me how creativity evolves when you let go of what’s comfortable. This piece isn’t just about a dog; it’s about reflection, courage, and finding beauty in change.

About Joanna Boultwood:

Joanna Boultwood is a self-taught British artist who discovered her love for drawing just six years ago. What began as a quiet escape soon grew into a passion that transformed her life. Known first for her heartfelt pet portraits, Joanna has recently stepped into a new chapter: creating reflective, metallic artworks that explore light and emotion.

See more at www.facebook.com/jlbarts001

Download the digital version of the magazine for just $4.99, or subscribe and save! Each issue is packed with step by step projects, critiques, colored pencil tips, artist profiles and much more.

I can stand in a room full of people and feel completely alone. I have always been like this. The same could be said about my childhood. Or my marriage. My job. I’ve always felt some giant disconnect, as if some invisible obstacle stood between me and everything else. Somehow, I needed that buffer, real or imagined, between “me” and “everything else.” Was I broken? Was I weird? How could this possibly be normal? Fast forward: it’s MY normal, and it’s where I thrive.

Still Life Without Mom

I suppose it’s a universal truth that everyone experiences everything in life differently. From our first breath, we form our own reactions to events. Some people are born with a silver spoon in their mouth. I was born with crayons. My earliest recollection is of my dad working nights and sleeping days. Mom had to come up with creative ways to keep me quiet all day while Dad slept and my siblings were in school. I have no memory of Mom getting on the floor to play with me or drag out a board game. I recall being handed a ceramic tile, ornament, or piggy bank to paint with the bare minimum of colors to work with to create something I was incredibly proud of in silence. Mom was in the same room, but in my creative bubble, there was aloneness. That became the foundation of what continues to serve me well, and I seek it out whenever possible.

I had the unfortunate experience of being exposed to inappropriate events that stole much of my innocence and forced filters upon my existence. I knew things. These things were never talked about, and in reality, I wouldn’t have had words in my vocabulary to relay the information I unwillingly found in my possession. I never came out of my creative bubble after that, and both parents died never knowing the burden I carried as a child in my single digits. Any time something got weird, awkward, or felt unsafe, I retreated mentally, emotionally, and physically—not only in my headspace, but to another room of the house entirely. I changed the subject, as it were. I took the focus off the inappropriate joke and would wow somebody with my latest creation. Created in self-imposed silent isolation.

Neither Here Nor There

In school, my talent was my armor. I was bullied beyond anyone’s knowledge. The guilty knew only of their torment but weren’t aware the same or similar awaited me around every corner, every day. I was in a perpetual state of exhaustion from constantly being beaten down and unaccepted. With a talent for drawing, there was one part of me that was untouchable! Drawing made me the unicorn of my class, in a good way, and that served me well throughout my college career and into adulthood. By then, isolation and creation came naturally. It wasn’t a choice anymore. It was all I knew.

“I created my first thing of beauty
out of the wreckage of my life.”

Each time I retreated, I took a ton of baggage along with me, as if it might serve some purpose one day. Soon it became too much to sort through, and, as if leaking from a pinprick of a hole, it found its way into my art—and THERE it found purpose. The first piece was “Still Life Without Mom.” I created it in the weeks following my mother’s death. I was already going through a divorce, and my resources to handle anything else were seemingly non-existent. And then it came to me. I created my first thing of beauty out of the wreckage of my life, and it was in the silence of the wee hours of the morning that I was able to grieve the loss of my mother—not in a manner publicly, but alone, in the most sincere, raw gesture I could muster. It sold to a stranger in a park at its first show. It won awards. It got featured in The Artist’s Magazine. It opened doors and invited me to step outside my bubble.

Once Upon A Time

The next turned-down page in my journey of grief came with “Neither Here Nor There.” The visual came to me in the final hours of my dad’s life. Because I was unable to express my feelings in words, words and feelings now automatically translated into imagery. Everything I was feeling, everything I was seeing, it all came together into a drawing that says way more than I could have expressed otherwise. And again, I was alone in the silence that the anticipation of that last goodbye presented.

My biggest personal accomplishment came with “One Upon A Time.” In that, I took years—DECADES—of silence and spewed forth the most intense, guttural purge of thought, feeling, imagery; an exorcism of sorts. I took all that silence and made it LOUD! I got it out of me and onto paper, in LIVING color. It was no longer IN me, controlling me, diminishing my worth. It’s not pretty. It won’t win awards. It may not ever sell. And that’s ok. It untethered me, made room for good within my living Self. To my surprise, it speaks to many people. It has made people cry without ever hearing an explanation for anything. It has made people feel SOMEthing unpleasant, sad, or sinister. It’s one thing to comprehend at age 60; it’s another to experience at age 6. For the full experience, tell Alexa to play “Matilda” by Harry Styles as you look deeply into the piece. That chaos is the filter through which I viewed life, but it is art that embraced me and carried me through every obstacle.

Jennifer Carpenter:

Jennifer lives in Virginia and has over 45 years of experience using colored pencil. Her awards range from local to international, and she has had work published in numerous colored pencil books, magazines, and articles. She currently works from her basement studio in her Christiansburg home, which she shares with her husband, two dogs, and three cats.

Facebook: JPCarpenterArt

Kingfisher by Corinne Vuillemin
8.27 x 11.69 inches
Derwent Drawing Pencils on Canson. (Reference Photo from 123RF.com.)

I love drawing human portraits. But, sometimes I draw animals, such as dogs, wolves or wildlife, for their intense gaze. And, sometimes, a bird catches my eye with the splendid colors.

I love animals and some have beautiful colors. What better way to do this than to draw an animal in autumnal tones? So, I chose to mix photos of kingfishers and try out Derwent Drawing colored pencils. I took the background of one photo, the plumage of another and the position of a kingfisher.

I started by coloring the head and then the body of this beautiful bird. I gently scratched the paper to create the plumage. Then, I sketched the background and then the branch. The Kingfisher finally appeared on the paper in the color of autumn.

About Corinne Vuillemin:

Corinne has always been passionate about drawing and painting. She has explored several techniques in oil painting, watercolor, graphite, charcoal, black chalk and colored pencils. Her interest is in portraits. The eyes are what attracts Corinne. That's why the portrait is, for her, the best way to fix the look on paper with pencils.

See more at Instagram: @corinne_s_portraits

Washed Ashore by Janet Mayes
5 x 7 inches
Polychromos, Verithins, Holbein Soft White, Neopastels (underpainting) on Grafix Drafting Film .005. (Photo reference by client, used with permission.)

This was a commission piece ordered by the child’s grandmother to give to her parents. The reference photo that I worked from was taken at a beach in North Carolina. Although I draw predominately florals and birds, I decided to challenge myself in accepting this child portrait. There were a lot of firsts for me in tackling this subject. I had never done a portrait on drafting film before but enjoyed rendering the skin tones and hair. It was also the first time I drew sand, shells and tiny little houses. I think her swimsuit adds a nice pop of color to the artwork. I was happy with the final result and it has now given me more confidence to try other subjects as well.

About Janet Mayes:

Janet Mayes lives in a mountaintop city in Australia, surrounded by beautiful parks and gardens, which inspires her love of depicting the detail found in nature. Janet has completed a three-year Bachelor of Creative Arts course, majoring in Painting and Printmaking. Works have been shown at group exhibitions and featured in various publications.

See more at www.facebook.com/JanetMayesArt

When the Sun, the Moon and the Stars Came Together by Linda Lucas Hardy
15 x 21 inches
Prismacolor colored pencils on UArt 800 grain sandpaper. (Artist’s own photo reference.)

When I take photos I hope to come up with something dramatic. On my computer, if I see one that might have possibility, but at first glance appears boring, I manipulate the dark and the light. By adding contrast, I can probably create the drama I hunger for. My reference for this piece had been speaking to me for a very long time. Once I finally listened, my work began, dare I say painfully, but when it comes down to it, I'm generally up for a challenge so, we wrestled. When it came to a title, I kept thinking how much the water drops looked like stars and how the glow behind the pear mimicked moonlight. What else could the pear be if not the sun?

About Linda Lucas Hardy:

With very little confidence and knees knocking, Linda Lucas Hardy blindly set off on an adventure, one that has taken her to amazing places and fulfilled every corner of her life for 25 years. That adventure began with one competition in 2001 and has led to numerous awards and honors which include 36 magazine publications and 20 books.

See more at www.lindalucashardy.com

Download the digital version of the magazine for just $4.99, or subscribe and save! Each issue is packed with step by step projects, critiques, colored pencil tips, artist profiles and much more.

These artworks are published in the FEBRUARY 2026 issue of COLOR Magazine.

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

• Coloured Pencil Pushers
• THE CREATIVE COLOR PLACE - for Color Pencil Artists
• Colored Pencil Corner
• UKCPS Members Group
• Bonny Snowdon's Coloured Pencil Group

I was born with a gift—though it took me more than 65 years to finally claim it and confidently call myself an Artist. My passion for art began early, but encouragement was something I rarely received. My parents admired what I created, yet in their minds, a “proper” future meant becoming a secretary, getting married, and raising children. Art, to them, was pleasant—but not a path.

Green Military Macaw - 19" x 19" Received Honorable Mention - Art Room Contemporary Online Gallery

But my passion refused to fade. I explored various mediums and gravitated toward anything that demanded patience, discipline, and intricate detail. I began as a watercolor artist and later enrolled in the Fine Arts program at the University of Alabama—a time I deeply cherished. Even with two young children, I continued to create. One of my proudest early accomplishments was a series of watercolors I had printed as lithographs and sold in frame shops. Yet, despite these achievements, my family still viewed my work as a hobby, not a calling. Their lack of belief became a quiet, constant burden.

Photography also became a major part of my artistic life. It trained my eye to see nuance—light, form, texture, and emotion. Over time, photography became one of my most valuable tools, and today I draw inspiration directly from my own photographs. It continues to shape the way I observe the world and translate it onto paper.

Wild Flowers - 16" x 19" - Omo Valley tribal woman

Throughout my journey, I worked with many mediums, winning awards and being published in art magazines. And still, somehow, none of it shifted the perceptions of those closest to me. Eventually, the weight of that disbelief wore me down. I stepped back, began teaching, and continued creating quietly. I didn’t give up, but the flame dimmed—though it never disappeared. I still dreamed of becoming a full-time artist and seeing my work displayed in my own solo exhibition.

Then everything changed. Determined to reclaim the passion that had always lived inside me, I returned to drawing—this time with colored pencils. I had finally found a medium that gave me the detail, richness, and control I had been searching for. Colored pencils allowed me to blend like watercolor while offering precision that thrilled me. Every artistic experience I’d ever had—watercolor, anatomy studies, design, photography—came together and formed the foundation I needed. Nothing was holding me back anymore. For the first time, I broke through the voice in my head—the one shaped by years of seeking family and spousal approval. I stopped waiting for someone else to tell me who I was.

I claimed it. I am an artist.
And I am proud of it.

And then, something extraordinary happened—something I had dreamed of for years. I fulfilled my lifelong goal of having a solo artist exhibit in Fort Lauderdale, Florida. It was a milestone that once felt out of reach, yet there I was, standing in a gallery surrounded by my work. But the most meaningful part wasn’t the exhibit itself—it was that my family and spouse were there. They helped with the setup. They admired the pieces. They spoke highly of my art. After a lifetime of doubt, hesitation, and misunderstanding, they finally saw me.

Just Hanging Around - 19" x 21" - Endangered Species - Borneo Orangutan

Today, I have stepped fully into the life I once only imagined. I now have my own dedicated art website, where I sell original works and offer Giclée Limited Edition prints—sharing my art with collectors near and far. It is a dream realized, built on perseverance, passion, and finally believing in myself.

After decades of struggle, perseverance, and self-discovery, I realized a powerful truth: My art was never meant to be defined by others. It was meant to be honored, lived, and celebrated by me. Claiming the title “Artist” wasn’t about gaining permission—it was about stepping into the gift I was born with and allowing it to shine.

Adele Sciortino:

Adele’s style blends detailed precision with refined artistry. Working in photography and drawing, she focuses on texture, light, and subtle nuances that give each piece depth. She builds her work slowly, letting layers evolve. From fleeting moments to complex studies, she highlights quiet reflections, gentle shadows, and intricate patterns that shape her voice—details that bring her work to life and define her artistic voice.

Website: www.adelesciortino.com

These artworks are published in the JANUARY 2026 issue of COLOR Magazine.

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

• Coloured Pencil Pushers
• THE CREATIVE COLOR PLACE - for Color Pencil Artists
• Colored Pencil Corner
• UKCPS Members Group
• Bonny Snowdon's Coloured Pencil Group

Elegy in Silver by AnnMarie Concetta Caster
18 x 22 inches
Prismacolor, Polychromos, Derwent, Luminance, and soft white colored pencils on Drafting film. (Artist's own photo reference.)

This piece was a labor of love. I lost count of how many layers involved. It was challenging for many reasons: the different types of surfaces in the piece, the colors, and the reflections in the tableware. Working on this piece gave me opportunities to use colors I rarely use and love. The patina on the aged silverware was created with blues, greens, bright oranges, and purples. Working on drafting film is a pleasure; it forgives mistakes of overworking, allowing more erasing, sanding, and layering on top of layers.

Using workable fixative, letting it dry, and lightly sanding the surface helped with layering without building up wax. It accepted the pencils as a fresh new layer, not compromising the previous colors. It was a process of trial and error, layered on top of more layers. I also used a heating pad to help blend the pencils. The wood was fun and something I enjoy. The knots, aged wood, and tableware effects were achieved using Polychromos, Derwent Lightfast, and Prismacolor pencils.

About AnnMarie Concetta Caster:

AnnMarie resides in Flat Rock, Alabama, on a serene 34-acre property with her loving family, two Chesapeake Bay Retrievers, and a beloved companion named Lucy Lu. Originally from Oswego, New York, she has lived a life always been steeped in creativity, shaped by her mother, an elementary art teacher who instilled a love for artistic expression.

See more at www.facebook.com/amcwatercolours

You Lookin’ at ME? by Linda Metzger
9 x 12 inches
Polychromos, Derwent Lightfast, and Pablo colored pencils on Pastelmat. (Photo reference by Terri Dallos, used with permission.)

The words used to describe Norm include sassy and attitude. I think that anyone looking at his portrait would agree with that description. His is the sixth portrait for the same client, who has followed me since my beginning days in graphite. His expression combined with that pose was so full of character that I actually laughed out loud when I’d pull his portrait away to look at my progress.

I loved capturing the shine of those mischievous eyes, the little underbite, and the contrast between his strong features and the soft blanket. The strong direct light from the left combined with a softer, reflected light from the right was a dream for this artist. I love capturing and accentuating values to bring vibrancy and life to my work. How fun for me to have such an endearing little puppy as a subject.

About Linda Metzger:

Linda is a self-taught artist who took a 40-year detour as a teacher and physical therapist before returning to the art she loves. She lives near Orlando with her husband and her furry family members. Her work has been recognized and published both in the USA and abroad.

See more at www.facebook.com/Lmmportrait and www.lindaspetportraits.com

Cute as a Bug by Rochelle Colgan
8.5 x 9 inches
Polychromos, Luminance, Pablo, Derwent Lightfast colored pencils on Pastelmat. (Artist’s own photo reference.)

This is a drawing of my daughter when she was almost three months old. I love the outfit she was wearing, although there were a lot of little squares to draw. It was a bit challenging to keep track of the rows and get them in the right spots. Thank goodness for Scotch Magic Tape to take out some of the wrong marks I made. It was a very useful tool. In my reference photo she was sitting in her car seat that was snapped into the stroller. Unfortunately, that meant she had big straps across her front. I tried looking for more photos of her in the same outfit so I could see what design was on the front of her shirt but didn’t find any. As a result, I had to improvise on her shirt.

About Rochelle Colgan:

Rochelle Colgan is an artist from Stony Plain, Alberta, Canada, who has loved drawing since she was a child. Rochelle has experience in pastel and graphite and is focusing on creating realism with colored pencils. Her current inspirations include drawing animals, children, and some pretty skyscapes. She also accepts commissions.

See more at www.rochellecolgan.com

Download the digital version of the magazine for just $4.99, or subscribe and save! Each issue is packed with step by step projects, critiques, colored pencil tips, artist profiles and much more.

My colored pencil journey started back in 2013 when I completed my first drawing on drafting film.  Even though I had worked with a lot of different mediums, I found that pencil was a very versatile tool to use, as I didn’t have time to mix paints in between working two part-time jobs.

Dahlia Delight, 10.5”x7"

I joined a number of colored pencil Facebook groups and found them invaluable in learning about the medium. Just by browsing posts, reading comments and interacting with other artists, I gained so much information about various supports, tools, and techniques. I became curious about drafting film and fell in love with it straightaway, as it seems to make colors so luminous. 

I highly recommend engaging on group forums like this, because you will obtain a vast array of knowledge. It has helped me so much on my journey.  On the advice of others and after lots of research, I eventually discovered what works best for my artistic style. I have found my favorite surface, sharpeners, pencils, and erasers. Rendering fine detail with colored pencil can be time-consuming, so I often use Caran d’Ache Neopastels as a base layer on the film to save a little extra work. I utilize various lightfast pencil brands to ensure archival quality and to have a wider range of colors to choose from.

“You never know what
opportunities may arise”

Over the years, I have posted all of my artwork on social media groups. Once I became more confident in my style and built up a body of work, I created an art page on Facebook and Instagram. You never know what opportunities may arise from putting your art out into the world.  Ann Kullberg saw my very first drawing of the yellow dahlia, and she very kindly published an article in her monthly magazine in January 2014. This led to an invitation to complete a few tutorials, and subsequently I have had more artworks featured in books and magazines. Another avenue that I explored was attending local monthly markets, which gave me some exposure to the public. I found that my small originals actually sold better than prints! It is also worthwhile entering awards and exhibitions for the experience, and hopefully some sales will follow.  Occasionally I have attended social art gatherings where you can bring your art to work on and share friendship and advice. There is great reward in seeing your art recognized, and encouragement from other artists and followers gives you a lot of motivation to keep going.  Therefore, I have learned to not give up, work hard and dreams may come true!

Mitta, 4" x 4"

Another lesson that I have discovered just recently is to not be afraid to step out of my comfort zone.  As the years have progressed I think that my work has improved from a lot of practice, patience and perseverance, and I feel more ready to take on challenging pieces.  I received a couple of commissions that ordinarily I may have declined because it wasn’t the subject matter that I am used to.  I like to draw florals and birds primarily, but I was asked to do my first pet commission of a cat, and also a child portrait. In drawing different subjects like fur, sand, and skin tones, I believe that this has expanded my knowledge and gives me the confidence to tackle other things as well. I had heard the slice tool was ideal in rendering fur and whiskers, so I was able to add another helpful aid to my collection. If I ever feel overwhelmed by a piece, I now try to treat it like a jigsaw puzzle and complete one section at a time. I draw what I see and not what I think I can see. It sometimes feels like a meditative process and the time goes quickly.

Washed Ashore, 5" x 7"

Finally, I have learned that it is important to have an essence in your work that makes your art recognizable, to have a particular style that you enjoy doing, and something that you try to capture in every piece. For me, that is the interplay of light and shadow on a subject, which serves to enhance its beauty or character. I find that a well-balanced composition is vital with an interesting focal point, including contrast in depth of field. This is always an interesting challenge, attempting to depict a soft, out-of-focus background with pencil. I may not always be successful but I strive to achieve the effect. 

In summary, my advice to anyone starting out on their own colored pencil journey: learn as much as you can about your medium and the tools you use, experiment and practice, interact with other artists for encouragement and advice, promote your work, develop your own style, challenge yourself and have lots of fun on the way!

Janet Mayes:

Janet Mayes lives in a mountain top city in Australia, surrounded by beautiful parks and gardens, which inspires her love of depicting the detail found in nature.  Janet has been interested in art from an early age and completed a three-year Bachelor of Creative Arts course, majoring in Painting and Printmaking. Works have been shown at group exhibitions, featured in various publications, and are housed in private collections. Janet has received many commissions based on the quality of her work.

Facebook: Janet Mayes Art 

These artworks are published in the DECEMBER 2025 issue of COLOR Magazine.

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

• Coloured Pencil Pushers
• THE CREATIVE COLOR PLACE - for Color Pencil Artists
• Colored Pencil Corner
• UKCPS Members Group
• Bonny Snowdon's Coloured Pencil Group

The Golden Hour by Ariesian Brooks
9.8 x 14.5 inches
Polychromos, Pablo, Lightfast, Luminance, Derwent Artists/Studios, Holbein colored pencils on drafting film. (Reference photo: Mikell Herrick Photography, used with permission.)

Herons are often seen in folklore as messengers of the gods and symbols of patience. They represent the resilience to persevere through hard times, the wisdom to guide oneself on your own path, and the self-sufficiency to rely on yourself.

As an artist, I have always found the heron to be a great inspiration, and it was such a joy to be able to illustrate this tricolor heron as it begins its evening hunt in the golden hour sunlight at its favorite marshy hunting ground. I am always amazed at how the light plays so delicately through translucent feathers, and I love that I was able to capture that effect in this piece. Overall, I wish I had been a little more consistent with the ripples on the water in the background, but I think the piece still works cohesively. There is always room for improvement.

About Ariesian Brooks:

Ariesian (or just Ari) lives in western North Carolina with their partner and two cats. They spend their days making artwork, enjoying the occasional videogame, and volunteering at their local gallery, where they are proud to share and sell their artwork.

See more at www.facebook.com/AriesianBrooksFineArt/

ALWAYS Keep Your Eye on the Ball by Cheryl Metzger
12 x 9 inches
Luminance, Polychromos, Pablo colored pencils and PanPastel on Pastelmat. (Artist's own photo reference.)

This little boy was born wanting to play ball and often did in my front yard. It was just a typical, hot summer day. The grandchildren had gathered in the front yard trying to stay in the shade of the many trees when they batted. It was Caleb’s turn, and he was ready with his usual seriousness. He was younger than the other boys, but he made up for that in spunk and determination. Of course, he has on the cap of his favorite baseball team. Capturing those special days and that special look with pencils is priceless to me. My grandchildren have always been my models. Caleb is now 19 and when I showed him what I was working on, he immediately asked me to make his forehead smaller. I thought his forehead was perfect.

About Cheryl Metzger:

Cheryl has always loved drawing, but her school never taught art. After college she found an oil painter who agreed to teach her, and she was in love with the creative process. Colored pencil became her medium about 2008, and she was honored to receive her signature status with CPSA in 2012.

Preparations by Victoria Peterson
14 x 20 inches
Polychromos, Pablo, Prismacolor colored pencils on White Museum Board. (Artist’s own photo reference.)

I own all of these 50s items and decorate with them each year. I set up this still life before Christmas last year and completed this painting. I photographed the setup to capture the light and shadow but kept the still life set up until the painting was completed. I drew in the design and then placed each item in front of me as I came to its place in the painting. This allowed me to get good detail of each item and consistent colors throughout the painting. I taped old Christmas cards and ribbon to the wall behind the still life setup to give a feeling of movement and excitement.

I always work with 100% dry colored pencil on White Bristol vellum or White Museum Board. I work five to ten hours a day in my studio and in just three hundred short hours I finished this painting.

About Victoria Peterson:

Victoria is a passionate colored pencil artist. She brings her love of nature and interiors to her work in the hope it will resonate with those who see it. Formerly a dentist in New England, she now dedicates her time to art. She often participates in local and international shows, and her work has appeared in galleries around the country.

See more at www.fineartvictoriapeterson.com

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by Gemma Gylling

When I was young, we lived on a small ranch. We had a variety of animals, including horses, dogs, cats, ducks, chickens, cattle, and goats. I was constantly playing with my animals. I would train them to perform several tricks and different behaviors; I also loved to photograph them and draw pictures from those photographs when I had the time.

This artwork was created from a photo I took while attending a photography workshop at a sanctuary in Montana. Title: “A Sudden Encounter” Medium: Colored Pencil, Size: 26” x 18”, Mountain Lion
 
As I grew older and decided to become more serious about my art, I struggled to determine the type of art I wanted to create. I tried several types of media and subject matter, but I was not happy with them.

I was surprised by the possibilities of colored pencils after reading an article about them. I then bought several how-to colored pencil books and took several workshops to learn how to create art using colored pencils. After all, I have always loved to draw.

How do you decide on what to draw?

I grew to enjoy working with colored pencils because they were not messy, no fuss, and the technical aspect of them was just the right thing for me. Before I retired (from my job), I was an ECAD Engineer, designing printed circuit boards; therefore, I have always enjoyed technical things.

Then there was the question of what to draw. One day, I was talking to a professional artist and asked, “How do you decide on what to draw?”. That conversation was a real game-changer for me. She suggested that I should always stick with what I love. Not only should I draw what I love, but I should stick with just that choice. That way, I would become known for that subject matter. As I mentioned earlier, I always loved to draw my animals. From that time forward, I would only draw animals (wild and domestic).

This artwork was created from a photo I took while attending a photography workshop in Botswana, Africa. Title: “Reflecting on Family – Save Them”, Medium: Colored Pencil, Size: 22” x 18”, Family of Elephants

The next thing I started to think about was how to get images (that I could use for reference) of the animals I wanted to draw. I have always enjoyed playing with photography, so I started on my new mission to photograph all the animals I could. Whenever we went on vacation, we would try to choose locations where I could take lots of photos of wildlife. Plus, I would take wildlife photography workshops, this way I learned how to take the photos properly and had the chance to photograph lots of animals.

I came to realize that by taking my own photos, I was truly the creator of my art from start to finish. It was my composition, my design, and my drawing. I learned this lesson the hard way. About 19 years ago, I purchased an image from a professional wildlife photographer who sells his photos to artists to use as reference for their artwork. The contract stated that I could use his image in whole or in part for the creation of my artwork, titled “Baby Face” (an image of a mother hippo and her baby). 

Here is the artwork created from the professional photographer’s photo. Titled: “Baby Face”, Medium: Colored Pencil, Size: 13” x 16”, Mother Hippo and her baby

You can imagine my surprise when a friend of mine told me that the cover of a wildlife magazine looked almost exactly the same as my colored pencil drawing. As it turned out, the photographer had taken several photos of the hippos during that photo shoot and sold a different frame to the wildlife magazine. The magazine photo looked just like the one I bought, but was a tighter shot with a vertical orientation. 

Of course, the photographer was within his rights to sell his other frames from that photo shoot. What bothered me was that it looked as if I had plagiarized from the magazine, although my drawing was completed well before its publication. Even though you think you have done everything correctly and legally, using photos taken by someone else can come back to bite you.

GEMMA GYLLING:

Gemma is a self-taught artist whose colored pencil artwork is enjoyed by many animal art collectors all over the world. Her artwork is published in numerous books and she’s the Author of “CP Cats; A Complete Guide to Wild & Domestic Cats in Colored Pencil”.
When asked what inspires her, she says, The Animals speak to me in a unique way, I try to help them speak to you through my art. I strive to portray the velvet touch of their fur or the plight they are living to simply exist.

Website: Glassgems Studio

Bun Bun by Ann Holder
13 x 16 inches
Luminance, Pablo, Derwent Lightfast, and Polychromos colored pencils on Strathmore 500 Series Bristol vellum. (Reference Photo from Unsplash.)

When my kids were small, they called rabbits or bunnies “bun buns.” To this day, they’ll always be bun buns to me. At one point, we had a large brown lop-eared bunny, named (of course) Bun Bun. That bunny was surprisingly tolerant of toddlers, which amazes me.

Back then, we had a 1990s classic red plastic Little Tikes car, the kind you pedaled with your feet that had a place in the back to store things. Guess where the bunny rode? I can still picture it: his fluffy head peeking over the top of the seat while a child drove him down the sidewalk. Later, my second child of three raised two rabbits on our small farm in Missouri. One looked a little like the one in this picture. It, too, was like a pet, but I’m not sure if the leash training" idea ever took off. It had a new name: Ginger. It was a special time: kids, bun buns, and simple treasured moments.

I chose this image to draw because of these sweet memories and because of the pose of this darling bun bun: the radiant light shining through its ear, the texture of the soft fur, and the vibrant life the green background displays.

All together it expresses to me the need for a brief pause in my day — to take a moment to remember, ponder, consider my direction, and to live with intentionality and mindfulness. Life is precious. Each moment is a gift that matters. Rejoice in it. Be glad in it.

About Ann Holder:

Ann Holder is an artist based in the picturesque mountains of Highlands, North Carolina. Her medium is colored pencil, which enables her to create details, textures and vibrant colors in her pieces. Through her art, Ann hopes to inspire others to see the magnificence of God’s creation through beauty, goodness and truth.

See more at www.annholderart.com

Portrait of an Artist by John Robak
16 x 20 inches
Prismacolor and Verithin colored pencils on Bristol vellum. (Artist's own photo reference.)

Portrait of an Artist is an homage to all artists. I used a variety of photographs I had taken at various art fairs for references. I looked for poses that would fit my design, and I made up the entire background. Compositionally, I wanted the viewer to be attracted initially by the man in yellow on the far right and then follow the shorter figures to the artist. Her intense focus makes her oblivious to the observers, and her head and arm are symbolically isolated by the frame on the easel behind her. She works alone, despite the activity around her.

This is how I view my experience as an artist, and I’m sure it is true for others. When I sit at the drawing table, the world drifts away and clock faces disappear. I immerse myself in the lines and shapes and colors, and I am captivated by the prospect of making something unique appear. Jealously, I create for myself, for the satisfaction of knowing these elderly hands can still perform, despite the calendar’s date. And when I put down my pencils and awaken to reality, I can gaze upon my effort as an observer and marvel at what these hands have done. This drawing represents all who work to enrich themselves and to present a unique view of the world to others.

About John Robak:

John Robak is a retired high school English and art instructor. During his 30 years as an educator, he developed innovative courses in drawing, painting, cartooning, photography, film history, crafts and art history. He also taught drawing and painting in adult education programs. He was last employed as a college adjunct, teaching drawing.

See more at www.johnrobak.com

Sun Blossom by Virginia Carroll
33 x 22 inches
Prismacolor and Luminance colored pencils on Grafix .005" two-sided matte drafting film. (Artist’s own photo reference.)

Living in a desert, I have become enamored of the desert flora, particularly the varieties of cactus. This cactus seemed special. Even though it was only a lowly prickly pear of no particular variety, I found it so appealing that I knew I had to use it as the main subject of a drawing. The rhythm provided by the structure of the pads and blossoms and their soft colors, along with the one bright blossom, lent itself so well to the format I worked with in the drawing. I used the dark background to enhance the light colors and the sharpness of the cactus spines.

Working on drafting film, especially on Grafix .005" two-sided matte, makes it easy to create a dramatic drawing, as you can use the back and the front of the film to create special feelings of distance and foreground that enhance the environment of the drawing.

About Virginia Carroll:

Virginia was fortunate to have a mother with enough foresight to send Virginia to drawing lessons as early as age six. She studied art at all school levels and majored in art in college. Even now, as an accomplished artist, she attends interesting workshops, believing you should never stop learning. Art is her life!

See more at www.virginiacarroll.com

Download the digital version of the magazine for just $4.99, or subscribe and save! Each issue is packed with step by step projects, critiques, colored pencil tips, artist profiles and much more.

These artworks are published in the NOVEMBER 2025 issue of COLOR Magazine.

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

• Coloured Pencil Pushers
• THE CREATIVE COLOR PLACE - for Color Pencil Artists
• Colored Pencil Corner
• UKCPS Members Group
• Bonny Snowdon's Coloured Pencil Group

My love affair with colored pencils (is it an addiction?) began around 2000 with a book called Colored Pencil Portraits by Ann Kullberg. I had moved from oils and acrylics to watercolor to find a medium that was less messy and toxic around kids and pets but needed something that gave me control for realism and packed quickly for my lake house. Then there were my cats and dogs. They enjoyed spilling my water containers and ruining my work. Armed with Ann’s book, I ordered Stonehenge paper and my first colored pencils – a complete set of Prismacolor—and set to work. “Sisters” resulted.  I was hooked. Full sets of a variety of pencils followed over the years, along with open stock singles.

1st colored pencil work—Sisters, 20x26, Prismacolor on Stonehenge, reference my own

On social media artists’ groups, I see a lot of questions about the different brands and types of pencils. Lively discussions often ensue, with each artist promoting their favorite type with fervent enthusiasm. As for me, I love them all, but for different reasons depending on the subject matter, substrate, colors needed, and my mood. I’ll go through my collection brand by brand and explain what I mean.

“The combination will determine
what works best for you”

First, those Prismacolor. They are a favorite because of their range of colors and their buttery texture. I use them on all types of paper, including Grafix drafting film and Arches Aquarelle.  They blend easily, play nicely with other brands when used either under or over, and have concentrated, vibrant pigments. Colors that I pull out repeatedly and haven’t found adequate substitutes for in other brands are Black Grape, many of the blues, the extensive range of greys, Pale Sage, and Grey Green. I use Black Grape for a technique that a watercolor instructor called Disappearing Purple. Used as a first layer under almost any color in area intended for shadow, it disappears but creates a rich shadowed area. White is opaque and works very well on drafting paper. Lightfastness is a concern with Prismas, but pieces I completed in the early 2000s are framed, hanging on my walls, and still vibrant. Breakage is another criticism of these pencils, but I seldom have an issue. I use a Dahle 166 sharpener which seems to solve the problem.

Polychromos pencils were my next full set purchase. They are also my least used pencils, although I have my favorites. Polys are a harder pencil; they hold a point well and have a nice range of colors. They also work with other brands on a variety of papers.  Colors I use often include Bistre, Nougat, Light Flesh and Medium Flesh. Polys have a nice range of purples as well. Polys are a choice when the colors are needed for the subject matter. 

Prismacolor collection storage

There’s nearly a full set of Caran d’Ache Luminance pencils in my stash. Because of their higher price, I added them as open stock singles until I had the entire range, adding the portrait set when it was released. That set is not just for portraits. It has colors that are useful for landscapes, still life, you name it. A major strength of Luminance is its lightfast quality. Pigments are concentrated, purples, pinks and reds are juicy, and the white is strong and opaque. They work well on all papers and with other pencils. My only complaints are that some of the sepias and umbers have a scratchy texture, and the older pencils have a silver lettering that wears off before the pencil runs out. Newer ones have white lettering that is easier to read and seems to last.  

Derwent Lightfast = another full set, and I use almost all colors until the pencils are too small to sharpen, reordering from open stock on a regular basis. To me, their texture has the buttery feel of Prismas while being hard enough to hold a point. Again, these pencils blend well with other brands, work well on paper and drafting film, have a great range of colors, and are lightfast. The black is rich and opaque. Although I use these pencils for all subject matter, their greens and blues really shine for land and waterscapes. For my uses, there are no downsides to Derwent Lightfast.

Pencils set out and ready to work

There are several pencil brands of which I own a selection of pencils rather than a full set. Holbein is one of which I own quite a few. Vivid colors are my favorite, as well as white and soft white. Their pigment is concentrated, and they are soft enough to lay down smooth, thick layers when that technique is needed. Soft white refers to the texture of the lead, not the color. It is a bright white that I find useful to highlight over darks. I especially like Holbein on drafting film when trying to cover large areas fast. I own a few Pablo pencils. They are hard and can be sharpened to a point. Derwent Watercolor Chinese White is useful for highlighting and can be moistened to dab bright white glints. Stabilo All Black is a highly opaque, rich black, great for accents and large black backgrounds. Stabilo All White is similarly opaque, great for highlighting.

My recommendation for artists new to colored pencils or wanting to grow their collections is to try a few favorite colors from various brands. We all have different styles, different subject matter interests, and use different substrates. The combination will determine what works best for you.

CINDY VALEK MOTTL:

Cindy Mottl has been passionate about art since childhood. Trained in oils and acrylics with a B.A. in art, she transitioned to colored pencil in 2000 to bring vibrant light and color to her work. Taking her inspiration from the landscapes of northern Wisconsin and family adventures there, she seeks to put the viewer into the scene with vibrant colors expressing mood, motion and light. Cindy’s work has been featured in colored pencil publications and has been exhibited in international shows.

Website: Cindy Valek Mottl Fine Art

These artworks are published in the OCTOBER 2025 issue of COLOR Magazine.

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

• Coloured Pencil Pushers
• THE CREATIVE COLOR PLACE - for Color Pencil Artists
• Colored Pencil Corner
• UKCPS Members Group
• Bonny Snowdon's Coloured Pencil Group

Sweet Surender by Carla Jane
11 x 15 inches
Luminance, Derwent Lightfast, Holbein and Polychromos on Saunders Waterford HP High White paper. (Photo from Pixabay.)

This piece evokes so much emotion both from animal and human. There seemed such a connection of love and trust from both, and I just wanted to bring it to life with the extra vibrancy and lifelike quality through my art.

Horses need to build trust before they ever consider letting go and closing their eyes on a human like this. It provokes so much feeling for the viewer, and you can just feel the warmth from it on this cold wet evening as the sun was beginning to set, and it was time to say goodnight.

I had been afraid to attempt to draw horses in the past but about 14 months ago I was commissioned to draw one, and even though I did not want to do it, I thought I would push and challenge myself. I enjoyed it so much that I decided I would do a calendar for next year and haven’t stopped drawing them since. They are now my new favorite thing to draw. So far this is my absolute favorite piece I have created.

About Carla Jane:

Carla has always had a passion to create. She has spent her whole life perfecting her skill with different mediums and techniques and trying to create lifelike pieces of art. She focuses on realism, with an eye for attention to detail. She puts her heart and soul into every piece, filling it with such emotion, movement and vibrancy.

See more at www.carlajaneart.com

Short Run to Stump Creek by Richard Boyd
19 x 13 inches
Caran d'Ache Museum, Stabilo Aquarellable and other water-soluble pencils on Canson Mi-Teintes Tobacco paper. (Artist's own photo reference.)

This award-winning colored pencil drawing on Canson Mi-Teintes Tobacco paper was the 2018 Huntington Beach Open Show Dvorman Family Best of Show. It is drawn with Caran d'Ache Museum, Stabilo Aquarellable, and other water-soluble pencils. It’s rendered in honor of Buck Draney, a wrangler I met while in Wyoming. Standing in the bright sunlight in front of a horse, he’s waiting for the approaching stagecoach to arrive. He’s a saddle maker by trade and it was his artful, confident and gentle care of the ranch horses that I admired. Stump Creek is the name of his Wyoming custom saddle company. The stagecoach is pulled by only two horses, so it’s on a short run. It’s a prop from the Old Tucson movie location I visited on vacation.

About Richard Boyd:

Richard is a retired industrial designer and journalist who is enamored with western heritage themes and portraits. His renderings are a labor of love influenced by his lifelong connection to the Southwest. He is an award-winning member of the Colored Pencil Society of America, CPSA Chapter #214, and the Huntington Beach Art League.

See more at www.richboydart.com

Day Dreamer #3 by Surita Goosen
31.5 x 23.6 inches
Polychromos colored pencils on Arches Aqua, Cold Press paper. (Artist’s own photo reference.)

This drawing was inspired by a candid moment of my niece during a visit to the aquarium. She stood still with her little yellow duck backpack, utterly captivated by the fish swimming behind the glass.

That moment of wonder sparked the idea for this piece where imagination blurs the boundary between reality and dreams. The oversized goldfish, bright umbrella and lush leaves reflect the vivid world I imagined through her eyes.

It’s a celebration of childhood curiosity, and how a simple encounter with nature can awaken a deep sense of awe and storytelling.

The most special part of creating this drawing was the feeling it gave me — like stepping back into childhood, when dreaming of the impossible felt completely natural.

About Surita Goosen:

Surita’s creative journey began with a love for drawing and storytelling, which naturally evolved into her current artistic style — inspired by beauty of everyday life, infused with a touch of imagination. The end goal is to create vibrant and expressive pieces that evoke emotion and spark curiosity while embracing structured chaos.

See more at www.instagram.com/suritagoosenart

Download the digital version of the magazine for just $4.99, or subscribe and save! Each issue is packed with step by step projects, critiques, colored pencil tips, artist profiles and much more.

I have been drawing most of my life.  Which in a large part I am certain that I inherited from my father, who was blessed with artistic skills.  He was a self-taught artist who loved to draw for his enjoyment and the enjoyment of others. Over the years I have drawn with all types of mediums but never used colored pencils, so about 11 years ago, I decided to take colored pencil drawing classes at a local arts and crafts store.  I learned a lot from the teacher.  Her constant encouragement and helpful criticism helped me hone my artistic skills with colored pencils.

Bell Pepper

It was during this time that I learned about the CP Treasures.  I would see the CP Treasures, but I wasn’t sure how my artwork would stand up against the competition.  Ultimately, after receiving encouragement from family and friends, whom I had shared my artwork with, I decided to submit my colored pencil artwork, hoping that my artwork would be chosen one day.  Eventually, after numerous submissions, and continuous encouragement to continue submitting my work, one of my submissions was selected. I was overwhelmed after finding out my artwork “The Bell Pepper” was selected. Seeing my artwork for the first time in print in CP Hidden Treasures Volume 6 was exceptionally rewarding and motivating.

“The recognition of my colored pencil artwork…
has heightened my self-confidence.”

All along, I have continued to expand my portfolio of work.  Finding new and interesting subjects to draw, sometimes drawing something special for a close friend or family member.  My love of drawing has included taking the time to expand and hone my skills and knowledge.  To include working on my technique of shading, color mixing, and overall composition to improve the desired outcome for that next challenge.  Excited and motivated by my first inclusion in CP Hidden Treasures, I continued to submit my artwork to the last three CP Treasures.  Miraculously, my artwork was chosen for CP Hidden Treasures Volume 7, 8, and the final 9.  Words cannot begin to express the overwhelming joy, positivity, and just how proud I feel being a published colored pencil artist four times in a row!  It is such a wonderful accomplishment for anyone, at any age, and especially so for me at the age of 73!

Like all artists I imagine, all our artwork is special to us and those around us.  However, CP Hidden Treasures Volume 8 is extra special because not only is my artwork, “The Violin” featured inside; it is also on the front cover!

The Violin

When I received the official notification that “Always My Guide” had been selected to be featured in CP Hidden Treasures Volume 9, I literally cried tears of joy.  This specific drawing holds a special place in my heart, not just because it was selected, that is really icing on the cake.  It’s special because I drew this for my girlfriend Jane, who fostered and started the training program for her first guide dog.  Jane became quickly attached to the dog, a dog she already knew she was not able to keep.  So, in an effort to bring light to what we knew was eventually going to be a sad day, Jane asked me if I would please do a colored pencil drawing of her dog Miya; something that she could hang in her home as a reminder of what a special dog Miya was when it was time for her to return to the guide dog program for her advance training.  The decision to put Miya at the bow of the boat, was a homage to her mission, her training, and her calling to be that guide for those in need.  For me, this provided a double honor, not only did “Always my Guide” get selected and published, but I am also honored that Jane has Miya’s picture hanging in her home for all to enjoy.

Always My Guide

The recognition of my colored pencil artwork and to be featured publicly has heightened my self-confidence.  I continue to improve my art every time I pick up a colored pencil.

In closing, I want to say thank you to Ann Kullberg and her staff.  It has been the most wonderful experience to have my artwork recognized and featured in your CP Hidden Treasures books.

AMY BURGHARDT:

Amy Burghardt has been involved in all kinds of art mediums for most of her life.  Her art really became a focus after she retired from her career at CIA.  Her dedication to art really took off with colored pencil art after taking classes in 2014. She loves the depth of color she can achieve while using her favorite Prismacolor colored pencils.  She is currently living in Sarasota, Florida with her husband Jamie, and enjoys her other hobbies of reading, gardening, and nature.

Gone to Ground by Cathy Choyce
12 x 18 inches
Polychromos, Luminance, Pablos and Derwent Lightfast colored pencils on Clairefontaine Pastelmat. (Photo by Tiffany Dillon Keen. Used with permission.)

It’s a cool, crisp autumn day, and many riders mounted on horses wait for the Huntsman to cast the hounds in search of scent. After a few minutes of anticipation, one hound’s voice rings out like a bell and the rest of the pack honors and the chase is on. Over hill and dale, the riders follow the Huntsman and the pack as the excitement builds. But the wily fox is prepared and after a merry chase, it ducks down into one of its many escape dens and the hounds all circle the hole. The Huntsman arrives, followed by the field of riders and blows the melody of Gone To Ground on his horn.

I have been a fan of sporting art for many years and capturing such intimate moments has always been a challenge and an honor. The many wonderful textures to replicate in this piece was a huge endeavor, yet filled with memories of riding to hounds in my earlier years.

About Cathy Choyce:

Cathy Choyce’s work in colored pencils in the past eight years has been noted for its realism, attention to detail and emotional impact. Her work has been awarded many gallery exhibit Best in Shows, an equine magazine cover, and she has been chosen as the Equine Affair Exhibition 2025 featured artist.

See more at www.cathychoyce.com

The Lookout by Rowan Hunkin
27.6 x 19.7 inches
Polychromos and Luminance colored pencils on Fabriano hot press satin 600g watercolor paper. (Photo by Anthony Goldman. Used with permission.)

This was a commissioned artwork from an avid collector completed in 2021. It is of a young leopard perched in a tree observing the world below it. It finds its home in Munich, Germany. The focus point of the composition is an attractive young leopard framed by the beautiful colors and textures of a Marula tree. One of the artist’s main goals was to capture the inexperienced hunter’s curiosity, nativity and youthful innocence through the rendering of its gaze. The drawing is highly detailed and offered many challenges. It took about 200 hours to complete. It is rendered solely with colored pencils. No blending, tools or solvents were used. The whites of the whiskers were negatively drawn.

About Rowan Hunkin:

Rowan Hunkin is a professional artist based in Austria. Originally from South Africa, it is there that he developed his love for African wildlife which is his predominant subject matter. He works in colored pencils and oil paints. He has been a multiple finalist in the Wildlife Artist of the Year competition.

See more at www.rowanhunkin.com

Templars of Basilica at Santa Fe by Tina White
13 x 16 inches
Polychromous, Pablo, Luminance, and Goldfaber colored pencils on Clairfontaine Pastelmat light gray. (Artist’s own photo reference.)

This piece, Templars of Basilica at Santa Fe, came about accidentally, or perhaps it was meant to be. I was walking to the Georgia O’Keeffe Museum when a wrong turn landed me at the Cathedral Basilica of St. Francis of Assisi, much to my great luck. This is one of the pillar caps that stands at the front entrance of the Cathedral, and I knew this would be a great piece of art one day.

It's taken me eight years to work up the courage to attempt it, and Pastelmat paper is what gave me the bit of confidence I needed to finally put pencil to paper. Working in grayscale seemed right as it focused on the detail and texture of the stately sculptures and helped me achieve the emotional impact I experienced when I first saw it. This was a piece that demanded to be created, and it hounded my thoughts until I felt brave enough to make the attempt. I am so pleased to have done it justice and so glad I got lost in Santa Fe.

About Tina White:

Tina White is an artist who works exclusively in colored pencil. She has been perfecting her craft for more than a decade. Tina works from her own references she’s collected in her travels as an equine judge. She lives and works in Whitesboro, TX.

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These artworks are published in the SEPTEMBER 2025 issue of COLOR Magazine.

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• Coloured Pencil Pushers
• THE CREATIVE COLOR PLACE - for Color Pencil Artists
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This past summer, I received the news that no one wants to get, “you have cancer.” It was found on a routine colonoscopy and it began a several month journey. Cancer is never planned for but the treatments for eradicating it put you in a work-in-progress status. After all the scans, procedures, radiation and chemo, there's still some of the tumor there. So, I will be having surgery soon and I look forward to having many more years to create all the ideas I have floating in my mind and in my sketchbooks for future pieces.

Portrait of Lumix, commissioned by the owner, 2025.

It's hard to stay motivated when your body is not working at its best. Just before I started my radiation treatments, I had a request for a pet portrait. I let my friend know what was happening and that I didn't know what affect the treatment would have on my ability to work. She was understanding and very patient with giving me an extended timeline to get it to her. During the same time, I wanted to create a piece to submit as a second entry in the CPSA International Juried show. I found that having goals such as a timeline or competition to enter helped to keep my motivated to stay on task.

“It's hard to stay motivated
when your body is not working at its best.”

I sometimes get slightly stuck and lose my concentration on a piece. I find I tend to work on two pieces at a time that are totally different from each other. It gives me time to step back from a piece so that I can come back with fresh eyes. Going back and forth on two pieces helped me to not get bored.

Catty Corner, from my reference photo, 2025.

On my treatment weeks with chemo, I didn't have the energy or desire to get anything done. On those weeks I read a lot (when my eyes were able to focus), and I took advantage of the luxury of naps. On my off weeks when I would start to feel stronger, have more energy, and my brain wasn't so cloudy, I would put some time in on the portrait.  On the days when I just wasn't feeling it with the portrait, I would work on the second piece. Even if it was just a few strokes of the pencil in a small area, it realized that it still got me further along on the pieces with a sense of accomplishment.

On the days when my eyes wouldn't focus, or I didn't have a steady hand, there were artsy things that I could still do. I would go through my photo files for picture ideas for future projects. Sitting in front of the TV, I could still have my sketchbook with me to jot down ideas or make thumbnail sketches. 

Divan Diva, last major portrait done in 2023.

Sometimes just coloring in a book where I didn't have to think about the project but just enjoy playing with colors was good. And there were always art books and magazines to look through.

I did make both of my deadlines with time to spare. The owners of the pup were really pleased with how his portrait turned out and plan to hang it in their new home next month. I also made the deadline for the entry into the juried show for the CPSA. I even had time to make our yearly Christmas card during the break I had between radiation and the start of chemotherapy. 

So as my next piece is a work-in-progress on my drawing board, and I await the surgery that is the next step in my cancer journey, I am blessed to have a husband who helped with the different household chores while taking care of our dogs, as well as taking care of me while I'm in my work-in-progress status.

FAITH WHEELER:

Faith Wheeler has preferred pencils over paint since childhood. A graduate of Florida State University with a BA in Studio Art, she worked for many years in graphic design and illustration. She is a signature member of the CPSA and has won many awards and has been published. Her home is in South Carolina with her husband and dogs.

These artworks are published in the AUGUST 2025 issue of COLOR Magazine.

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

• Coloured Pencil Pushers
• THE CREATIVE COLOR PLACE - for Color Pencil Artists
• Colored Pencil Corner
• UKCPS Members Group
• Bonny Snowdon's Coloured Pencil Group

Snuggletime by Kirsten Walsh
14 x 17 inches
Caran d'Ache Luminance and Prismacolor colored pencils on Saunders Waterford HP 300 gsm. (Client’s photo reference. Used with permission.)

This was a private commission of my client’s grandchild, and one of three in the series. Each portrait was so special, created as each child came into the family. The reference photos were of stunning quality and made the job so much easier. Good references are a must. I love the texture of the bunny I was able to create and the soft knitted finish of the hat.

I used a mix of Luminance and Prismacolor for their creamy finish and soft color range. I love the buttery feel of the pencils; they are perfect for blending and layering for the opaque finish achieved in the end.

The paper was Saunders Waterford HP 300gsm. It is not often used for pencils, but it is such a gorgeous paper to work on. I prefer its smooth surface, and opt for hot press every time. Other favorite surfaces are Arches and Rising board.

About Kirsten Walsh:

Kirsten is a full-time artist living on the Surfcoast of Victoria, Australia. She started creating artworks using pencils in 2016, after a long gap from doing any art. She quickly found her love for pencils again and has been fortunate to have many commissions, which has grown her practice to a full-time career. She now also does large-scale charcoal drawings.

See more at www.instagram.com/kirstenwalshfineart

Loki by Philip McDonald
12 x 18 inches
Polychromos colored pencils on Strathmore Bristol Smooth. (Photo by Kate Barker. Used with permission.)

Drawing white fur on white paper: We all know what a nightmare that can be, don’t we? But using that negative space and losing edges, allowing the subject to blend into the background, can be so creative. And there’s so much color there when you look, too. This was something that took time for me to understand. You can learn all the techniques and tips and tricks in the world, but learning to look properly, to see, you have to do that yourself. That’s ongoing, of course, and I’m still learning. I loved working on this commissioned memorial piece. He is such a beautiful animal, and I wanted to do him justice. My customer was happy with the result, and I was, too.

About Philip McDonald:

Phil was born in Yorkshire, England and raised in the British Army in Germany. Phil’s work centers on British birds and wildlife. He hopes to make a living from it one day. Now in his 50s, he is married and living in Yorkshire. He has two beautiful grown-up daughters and two wonderful granddaughters..

See more at www.philipmcdonaldfineart.co.uk

Links to the Past by Sonja Johnson
6.75 x 9 inches
Prismacolor, Polychromos and Holbein colored pencils on Canson Mt-Teintes, black. (Artist’s own photo reference.)

I took the reference photo for this piece long ago on a wonderful visit to Williamsburg, Virginia. I could hear music coming from the front door of a beautiful old church, and I noticed the church’s cellar, which had a very old lock and chain securing its door. I was attracted to the sunlit rusty colors and patina of the vintage handmade lock and chain bathed by the early evening light. It was banged up a bit from the passage of time, as was the peeling paint on the cellar door that it rested upon. But it was the dramatic contrasting values made by the golden light and the intricate shadows cast by the chain on the peeling paint that most attracted me to this scene, inspiring me to draw it.

My favorite black paper, with its slight texture, was a perfect surface to help me convey the vintage feel, moodiness, and dramatic light effects of this subject. In some areas, I left the black paper uncovered, or barely layered, for the darkly shadowed areas of the background. I also let the black paper subtly show through the layers in the shadows of the rusty metal chain and patina of the lock. The rusty colors of the metal were a pleasure to render, but the big challenge for me was rendering the many areas of peeling paint and the places where the worn wood peeked through the peeling paint on the door.

I like to apply many vertical, light layers in my pieces, always with a sharply pointed pencil. This, along with the texture of the Mi-Tientes paper, gives my pieces their textured look.

About Sonja Johnson:

Sonja’s love of drawing was encouraged by her artist mother. In the 1980s, studying commercial and fine art in college, Sonja discovered colored pencils, but became an architectural draftsman because it was a practical job. Colored pencils are still the perfect medium for her meticulous nature. Sonja is inspired by the vistas and old barns of Idaho.

See more at www.instagram.com/sonjamjohnson

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I love to draw all types of animals, in particular domestic animals, local wildlife and birds, but recently I started to explore human portraiture. “Solange” was my first human portrait in colour pencil, and I’d like to share with you how I created the background for this drawing. Of course, you can create similar effects using purely colour pencils, with or without a blending medium. I confess to being rather impatient and using this method on film, incorporating oil pastels and blending medium speeds up the process for me. I’m suggesting professional grade materials as I believe you will have the best results, especially in regard to quality of the pigmentation and ease of blending.

Solange 8"x10", portrait of a young girl on drafting film. The sun dappled background helps bring this portrait to life.

Once my line art is prepared and securely taped down on a smooth black mat board, a sheet of .005 matte 2 sides drafting film is taped over it. I tape on one side using low tack painter tape which lets me slip a clean sheet of paper behind the film to see how my drawing is progressing without the line art showing through. Taping on one side also lets me lift the film over to draw on the reverse if areas need more layers to create depth, or darken values. You can experiment on developing your backgrounds on a spare piece of drafting film, and placing it behind your drawing to allow you to judge how the finished piece will look, and make any adjustments accordingly.

Solange in progress. This image shows how the oil pastel is used to build up values and textures.

When preparing to begin a new colour pencil drawing on film which includes an abstract background, I like to preplan by checking the contrast between subject and background using a colour wheel. But, I’ll let my instincts take over at this point, and fine tune my colour selections to get the effect I’m happy with. I’m not necessarily trying to replicate the photograph as my primary focus is to create a complimentary background to make the subject stand out, and I’m not tied to the actual colours that may be present in the source photo. I add shapes, colours, values, and tones that I feel bring emotion and movement to the piece.

Solange, a side by side comparison. Drawing on the left, source photo on the right. This image demonstrates how the artist can change the background to achieve the results you want!

In the portrait of Solange, I didn’t start with the background as I might normally, but as I worked on her face I thought subtraction techniques on a dark background would best capture the sunlight on her hair, and decided to add the background. I selected fresh pastel colours in the lower grassy area to create summer warmth which also shows in her glowing face. I used odorless Turpenoid to create a blended base of light creams and yellowy greens. I like using blending fluid as I don’t have to press as hard to get the effect I want, but you may prefer trying blending stumps or a dry cloth or a bit of paper toweling to blend in the pastels. Using a blending medium makes the pastel translucent, and I find only the teeniest amount on a cotton bud is enough for me, and you can always add more. Once the base was dried on Solange’s background, I added splotches, squiggles, and circles of light greens, greys, creams, and yellows. I carefully blended those areas separately so they weren’t blended as one colour into the base layer, and dabbed and twisted a kneadable eraser around to lift off circles of lighter areas to create interest and textures. I adjusted values by retouching areas with more pastel layers and re-blending, or by adding colour pencil. When the dark areas of the upper background trees were complete, I drew in her hair and lifted out the textures and highlights in the hair with the kneadable eraser, Tombow Mono, and Slice tool for the wispy bits. I’ve found colour pencil blenders work beautifully on top of the blended pastel! As you are working on blending your colours be mindful of keeping your tools clean so you don’t muddy your colours by accident! A little twist on a bit of clean paper towel usually works. 

In my opinion, in art, there’s no right or wrong way to achieve the results that satisfy you as an artist. And by realizing not everything you draw will be a masterpiece, you will create an opportunity to learn something from the attempt. Experimenting with different techniques can help grow your creativity, and perhaps you will have an “Aha!” moment of your own that helps you develop as an artist, to discover and push the boundaries of our favourite medium, colour pencils!

LIST OF MATERIALS
Drafting film or Dura-lar matte 2 sides, .005 weight
Various brands of Professional quality colour pencils
Professional quality oil pastels
Blending medium (I use Turpenoid odorless turpentine)
Blending stumps, paper toweling, cotton buds, colour pencil blending pencils
Kneadable erasers
Tombow Mono eraser
Slice tool
Colour wheel

NANCY MCCABE:

Nancy is a retired graphic designer who resides in Atlantic Canada with her husband Brian and their pets. Not having drawn or created art by hand for 30 years, January 2023 found her re-exploring different mediums, including colour pencils. In between portrait commissions, Nancy is inspired to create artwork that brings her joy.  A lifelong nature observer, she is happiest in her flower and vegetable gardens, on local beaches and woods.

Facebook: Nancy McCabe Portraits and Fine Art

These artworks are published in the JULY 2025 issue of COLOR Magazine.

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

• Coloured Pencil Pushers
• THE CREATIVE COLOR PLACE - for Color Pencil Artists
• Colored Pencil Corner
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Swiss Pumpkins by June Wright
12 x 16 inches
Faber-Castell Polychromos colored pencils on Saunders Waterford HP paper. (Artist’s own photo reference.)

My colored pencil drawing, “Swiss Pumpkins,” depicts a simple pumpkin display that caught my attention at a market in Switzerland. For this composition, I focused on a section that showcased an interesting cluster of pumpkins, highlighting their vibrant colors and variety of intriguing textures. In contrast to the rich orange hues, I wanted also to focus on the deep negative spaces in the darker areas to reveal depth and dimension between the pumpkins. To give the drawing a local touch, I included the details of the stickers on the pumpkins, grounding the artwork in its Swiss context. My enjoyment of pumpkins and the cozy feeling of autumn they bring, along with the display I experienced, inspired me to create this piece.

About June Wright:

June is an Irish artist from Dublin, specializing in colored pencil art. She has a strong interest in subjects that derive from nature, such as botanical art, but also loves discovering objects and compositions that captivate her. June has won numerous awards for her work through the years and exhibits regularly in group exhibitions throughout Ireland.

See more at www.instagram.com/june wright art

Little Red Angus Bull – It’s Bathtime and I’m Next! by Sherry Goeben
9 x 12 inches
Polychromos, Luminance, Holbein, and Derwent Lightfast colored pencils on Clairefontaine PaintOn Mixed Media white paper. (Artist’s own photo reference.)

I have a booth at the Grange Fair every year. I usually spend at least one afternoon walking around hunting for interesting animals to photograph. I walked by the beef cattle exhibit washing station and saw this cute little red angus bull that was wiggling and fidgeting with all his might. When he noticed me he immediately stopped moving and gave me the most adorable look that seemed to be imploring me to “Please, please make them hurry up so I can get my bath!” It melted my heart and I knew in that instant I wanted to draw this sweet character. He stood still, looked directly toward me and allowed me to get several nice reference photos of him. What a sweetie. I also try to find subjects to draw that stretch my abilities and this one definitely did. I have been trying to get better at more complex backgrounds and that soapy water was challenging — along with the bull’s lighting and colors. It was a daunting project but I am so glad I stepped up to the challenge.

About Sherry Goeben:

Sherry Goeben, a well-known colored pencil artist in the Facebook community, is best known for capturing the soul of her animal subjects. She has won several awards for her artwork. Sherry loves to share her knowledge and techniques with fellow artists. There are three things that mean the most to her — God, her family, and doing art.

See more at www.facebook.com/SherryGoeben

Athabasca River, Alberta by Wilfrid Barbier
11 x 14 inches
Prismacolor Premier, Faber-Castell colored pencils on Bristol Board. (Artist’s own photo reference.)

This drawing is part of a series I started from photos I took on a trip across Canada in an RV with my wife a few years ago. This river is in Jasper National Park in Alberta. It was an extraordinary trip that allowed me to get to know my country a little better. It allowed me to discover the immensity and indescribable beauty of our territory. When I saw these rapids in front of me, I already saw them on paper with my colored pencils. Before starting work, I immersed myself in the photo by imagining the final work. This internal visualization lasted at least a week, allocating a few minutes here and there each day. But what a great pleasure it was for me once I got started to create this work.

About Wilfrid Barbier:

Wilfrid completed a graphic design course in 1983, but stopped practicing art for several years. He is one of the few colored pencil artists in Quebec. It was in 2001 that he discovered the full potential of this medium, which he knew little about. Self-taught, he quickly mastered it quite well, knowing that his learning would never be complete.

See more at www.wilfridbarbier.com

Download the digital version of the magazine for just $4.99, or subscribe and save! Each issue is packed with step by step projects, critiques, colored pencil tips, artist profiles and much more.

“I let the images speak for themselves”

Connecting Through Art
I don’t just create wildlife art; I explore the reality of animals living alongside us. I want my work to make people pause—to see the beauty, the struggle, and the subtle coexistence. My hope is that the art evokes curiosity and reflection, prompting a deeper awareness of how wildlife adapts to urban challenges.

While my art often carries an underlying message about conservation, it’s not always the primary focus. Instead, I let the images speak for themselves, capturing the resilience and quiet presence of animals in unexpected places. It’s about appreciating these encounters and recognizing that wildlife persists, even in the most human-dominated landscapes.

Art, for me, is about exploring the intersection of urban life and wildlife through color, detail, and composition. Using colored pencils allows me to capture the essence of these encounters—stories of survival and adaptation that challenge how we perceive both nature and our cities. Through my art, I invite viewers to see the familiar in a new light, appreciating the unexpected ways wildlife continues to find a place among us.

LEAH GARDNER:


A self-taught colored pencil artist, grew up in an animal rescue, fostering a deep love for wildlife. Her vibrant, detailed artwork captures the essence of animals while raising awareness of conservation issues. Through striking juxtapositions, Leah highlights the impact of human expansion on nature, inspiring a deeper connection between people and wildlife.

Facebook: Leah Gardner Art