One Thing I Seek by Angela Macaulay
20 x 26 cm
Faber-Castell Polychromos, Caran d’Ache Pablo and Luminance, and Derwent Lightfast colored pencils on Clairefontaine Pastelmat. (Reference photo used with permission from Wendy Hodgkins Corniquet, Free Reference Photos For Artists Facebook group.)

In my artwork titled ‘One Thing I Seek’, I wanted to capture the quiet strength and deep emotion found in this single moment of worship.

Being my very first colored pencil portrait, this piece marks a significant milestone in my artistic journey. Having previously worked almost exclusively in graphite, I was challenged to explore creating with colored pencils. What began a few years ago as a simple colored pencil drawing of a family pet unexpectedly became the turning point that led me to embrace colored pencils as my primary medium. I love to experiment with different surfaces, Pastelmat and drafting film being my favorites to work on.

In creating this piece, I was immediately drawn to the expressive profile of the woman and the striking warmth of her red headscarf in contrast with the muted colors and soft background. The gentle gesture of her open hands speaks of her complete surrender.

One of the aspects I love most about working with colored pencils is the slow, deliberate process of building layers to create rich color, realistic skin tones, and subtle depth. I don’t use solvents in my drawings; instead, I let the pencils do all the work by slowly blending and adding lights over darks on Pastelmat, leaving the details for last.

The intricate folds and delicate patterns of the headscarf in this piece proved to be the greatest challenge, but also the most rewarding, as each layer of pencil gradually brought the portrait to life.

Rather than simply recreating a photograph, I aimed to invite the viewer into this intimate and quiet moment of reflection and the beauty found in everyday people.

About Angela Macaulay:

Angela Macaulay is South African-born, raised in Canada, and now lives and creates in Australia. She is a self-taught artist, creating realistic works inspired by her experiences and the people and wildlife around her. Her art celebrates life, beauty and joy.

See more at Angela’s Facebook art page.

Fallera by Joan Wells
9.4 x 12.6 inches
Faber-Castell Polychromos, Caran d’Ache Pablo and Luminance, and Prismacolor Premier colored pencils on Canson Mi-Teintes Velvet. (Artist’s own reference photo.)

In our retirement my husband and I have been spending a couple of months in various countries and I spend quite a bit of time trying to capture the culture and feel of a country through pictures which I share on my social media accounts. This past year, I was lucky enough to spend two months in Spain, and luckier still to be there during Fallas. This festival runs over many days in the Valencian Community and includes gatherings and parades where the locals wear traditional Valencian costumes. The women, or ‘Falleras’, have the most beautiful intricate costumes in many different colours. One day, while we were having lunch in an alleyway in Denia, a parade of Falleras passed by and I snapped some quick photos of the girls with my phone. This Fallera in particular caught my attention. The red dress she was wearing was the perfect colour for her and she had an almost regal bearing as she waited in line. She posed for me a couple of times but the best photo was when she wasn't paying attention to me. As soon as I arrived back home to my pencils I began drawing her.

It was a challenging portrait due to all the detail of her costume, but I wanted to capture her beauty and the magic of that day in Spain.

About Joan Wells:

Joan is a self-taught artist living on the North Channel of Lake Huron. Since retiring in 2024 she spends her time travelling, enjoying lake life and drawing interesting faces.

Kestrel on Window by Ricky Hill
14 x 11 inches
Prismacolor, Faber-Castell Polychromos and Rembrandt Polycolor colored pencils on Strathmore Bristol 300 Series Smooth paper. (Artist’s own reference photo.)

Early one summer morning as the sun was rising, casting a soft, golden light along the quiet street, I was walking when a beautifully hand-carved doorway and window caught my eye. The intricate woodwork immediately drew me in, but as I looked closer, I noticed a striking detail atop the frame. Perched calmly above the window was a kestrel, its sharp gaze fixed directly on me. For a few brief seconds, the rest of the world seemed to fade away during that still, magnetic moment of eye contact.

That quiet connection—where raw natural wilderness met intricate human craftsmanship—became the primary inspiration for this colored pencil drawing. Using fine layers of colored pencil, I aimed to recreate the delicate contrast between the soft texture of the bird's feathers, the warm tone of the carved wood, and the ambient morning light. This piece serves as a visual memory of an unexpected encounter and the quiet harmony found between nature and art.

About Ricky Hill:

Raised near Lake Erie, Rick’s paintings and sculptures are shaped by the region’s wildlife and history. Driven to tell a story through movement and balance, his work is inspired by the creative process itself—using scale and texture to bring each piece a sense of balance and flow.

See more at www.rickhillbronze.com.

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

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People often ask why I choose to draw portraits. Out of everything I could create, I always come back to faces. For me, a portrait is so much more than a likeness; it’s a way to communicate emotions that are often difficult to put into words.

The Weight of the World, this piece portrays an elderly woman in quiet contemplation, conveying the emotional burdens we can carry without saying a word.

As an autistic artist, I’ve always experienced the world a little differently. I notice things that many people might overlook: the slightest shift in an expression, the tension around someone’s eyes, the way light changes the feeling of a face, or how a tiny movement can completely alter the mood of a portrait. Those subtle details are what draw me in, and they’ve become an important part of how I tell stories through my art.

I’ve never found words to be the easiest way to express how I feel. Emotions can be complex, layered, and sometimes difficult to explain, even when they’re incredibly strong. Art gives me another language, one that doesn’t rely on sentences or conversations. When I draw, I’m able to express thoughts and feelings that might otherwise stay inside.

Choosing a portrait subject isn’t about finding the most beautiful face or the most dramatic photograph. It’s about finding a connection.

Sometimes a person’s expression makes me stop scrolling. Other times it’s a quiet moment, a thoughtful gaze, or an emotion that seems to exist just beneath the surface. I don’t always know exactly why a reference photo speaks to me, but I trust that instinct. If it makes me feel something, there’s a good chance it will make someone else feel something too.

Before I ever put pencil to paper, I spend time looking. Really looking.

I wonder what the person might be thinking. I imagine the experiences that shaped them. I notice how the light falls across their face and how their posture changes the story. I don’t need to know the facts behind the photograph. What matters is the emotional connection I feel and the opportunity to create space for others to find their own connection.

Best Friends, celebrates the joy of lifelong friendship, capturing a moment of pure laughter, love, and connection. A reminder that the deepest bonds are often found in shared smiles.

That’s one of the things I love most about portraiture. Every viewer brings their own experiences with them. Someone may see hope where another sees sadness. One person might recognize strength, while someone else sees vulnerability. None of those interpretations are wrong. In fact, I hope they’re all different.

My goal has never been to tell people exactly what to feel.

Instead, I want to create portraits that invite people to pause, reflect, and discover their own story within the work.

“It’s about finding a connection.”

Realism is a huge part of my artistic practice because I want the viewer to believe the person in front of them could step off the page. But technical accuracy isn’t the destination—it’s simply the bridge that allows emotion to come through. Once the likeness is there, the real work begins.

The eyes often become the heart of every portrait. A tiny adjustment to a highlight or the curve of an eyelid can completely change how someone experiences the piece. Those details might seem insignificant on their own, but together they create an emotional presence that I hope people can feel.

Many of my portraits explore themes like resilience, quiet strength, reflection, joy, grief, and the emotions we often keep hidden behind everyday expressions. These subjects matter to me because they’re part of being human. We all carry stories that aren’t immediately visible, and I want my work to acknowledge that.


Quiet Concern, is a portrait of unspoken emotion, highlighting the hidden burden of men’s mental health and the importance of creating space for honesty, support, and healing.

Creating art has also helped me better understand myself. As an autistic person, I sometimes process emotions differently or need more time to make sense of them. I’ve realized that drawing isn’t just something I do, it’s part of how I think, reflect, and communicate. There have been many times when I didn’t fully understand what I was feeling until I saw it emerging in a portrait.

When someone tells me that one of my drawings reminds them of a loved one, makes them stop and think, or evokes an emotion they can’t quite explain, I know the portrait has done its job. Those moments mean more to me than hearing that my work is realistic or technically well done.

Art has the ability to create conversations without words.

That’s why I continue to return to portraits. Every face offers the possibility of connection. Every expression tells a story. Every drawing becomes another opportunity to say something that I might never be able to express aloud.

If my work encourages someone to pause for a moment, to feel seen, or to recognize a piece of themselves in the eyes of a stranger, then I’ve shared exactly what I set out to communicate.

Stacey Barge

Stacey Barge is a Calgary-based artist specializing in realistic coloured pencil portraits that capture both likeness and emotion. Her work explores the quiet stories behind each face, inviting viewers to form their own connections. An award-winning artist and President of the Calgary Chapter of the Federation of Canadian Artists, Stacey is passionate about creating artwork that is technically refined, emotionally engaging, and deeply personal.

Facebook: Stacey Barge Art
www.facebook.com/staceybargeart
 

Explore the October 2026 issue of COLOR Magazine for more featured winners, and visit the full Member Show to enjoy artwork from across our colored pencil community.

Nancy Honaker: I Could Have Been a Pencil

From Nancy: My wooden mannequin fell off my drawing board onto my pencils which were lying on the floor and voilà...a reference idea was born! Once I began the drawing, it was amazing how many colors went into rendering each pencil besides the ACTUAL color of that pencil!

Julie Podstolski: Getting to Know You

From Julie: In a wintry tree outside my veranda in the Southern Forests area of South-Western Australia, a western rosella is as curious about me as I am about him.  In this drawing I have endeavoured to capture his keen, inquisitive and endearing intelligence.

Gemma Gylling: Born to be Wild - Save Them

From Gemma: Born to be Wild is a reflection of my deep admiration for wildlife and the intricate beauty of the natural world. This artwork was inspired by a moment of quiet observation during an early morning safari, when a leopard crossed our path. Witnessing the animal’s cautious movements and its graceful retreat into the tall grass, then finally to a clearing, I was struck by the sense of mystery and presence that wild creatures hold. The vibrant backdrop of bushes and the interplay of light and color compelled me to capture this experience on paper.

See the Full 27th Annual Member Show

Congratulations to Nancy, Julie, and Gemma! Thank you for sharing your artwork and the moments that inspired it with our colored pencil community.

There's plenty more to discover. Visit the 27th Annual COLOR Magazine Member Show to see the other winners, browse all the entries, and read juror Christina (Chris) Bond's comments on the award-winning artwork and honorable mentions.

We'll continue highlighting more honorable mentions here on the blog in the coming weeks. Explore the October 2026 issue of COLOR Magazine for more featured winners.

Peggy Lohman: Knitting Basket

From Peggy: I really enjoyed working out the different textures in this piece.  The knitting supplies you see here are both mine and my Mom’s. She taught me how to knit when I was in high school….and when I look at this drawing, I think very fondly of her.

Judy Hussein: Boys’ Day Out

From Judy: This is a drawing of my husband and eldest son, taken from one of my favorite photos of a trip to Disney World over 20 years ago. In this hectic life we live, these fond memories are what help me balance out all the craziness.

Kathrine Davis: Unwritten

From Kathrine: Unwritten is a self-portrait capturing a quiet pause, reflecting the awareness of entering a later season of life and recognizing what time has taken and given. The face carries evidence of experience, endurance, concern, and quiet resolve, with the marks of age rendered without disguise. There is a sense of waiting shaped by perspective and the understanding that the future is never fully known; the view ahead remains unwritten.

See the Full 27th Annual Member Show

Congratulations to Peggy, Judy, and Kathrine! Thank you for sharing these personal stories and the artwork that brings them to life with our colored pencil community.

There's plenty more to discover. Visit the 27th Annual COLOR Magazine Member Show to see the other winners, browse all the entries, and read juror Christina (Chris) Bond's comments on the award-winning artwork and honorable mentions.

Stay tuned in the coming weeks as we will highlight more honorable mentions here on the blog. Check out the October 2026 issue of COLOR Magazine for more featured winners.

Diane Kirby: Luna

From Diane: This piece is on wine colour Clairefontaine pastelmat and the image measures 8” x 12”. It was done with a mixture of Polychromos, Luminance and Pablo pencils with a touch of (a happy accident ‘pearl’) white pan pastel as an underlayer on her belly. This piece was my second solo drawing after starting out in January 2025. It was a gift to my daughter of her cat for her wedding. It took me around 30 hours (probably more!) and many many layers.

Curious about the surface Diane used? Explore our guide to drawing on Pastelmat.

Boni Meddock: Colorado Squinty

From Boni: My husband and I are fortunate to have a summer cabin in the beautiful Quartz Creek Valley in Colorado. We are frequently visited by a variety of wildlife. Early one afternoon this little fox appeared. We were surprised to see him out & about in the daytime. Friends & I were able to get several photos before he left. The photo I chose as a reference had just the right light & detail. I really liked his squinty expression too. It made me wonder what he was watching. I like photos that engage the viewer in some way. This one seemed to do that. I chose to use drafting film for this drawing. It is a surface I am still learning about. Pan pastels were used for the background area. I applied them to the front & back of the surface to create softness. I learn so much from each drawing I do. Everyone is a new adventure! 

Boni chose drafting film, a surface she's still getting to know that's perfect for beginners because you can easily erase any mistakes! If you'd like to explore this surface yourself, take a look at our guide to colored pencil on drafting film.

Lauren Bean: Gems of the Sea

From Lauren: By chance I happened to find a group of color pencil artists. I had no experience at all but my world opened up as I learned to explore all the possibilities of colored pencil. Its meditative effect, the excitement when you see your project come to life, the satisfaction that this is something you created.

Lauren's experience is a lovely reminder of what can happen when curiosity meets encouragement. If you're ready to begin your own colored pencil adventure, explore our beginner colored pencil tutorials.

See the Full 27th Annual Member Show

Congratulations to Diane, Boni, and Lauren! Thank you for sharing your artwork and the stories behind it with our colored pencil community.

There's plenty more to discover. Visit the 27th Annual COLOR Magazine Member Show to see the other winners, browse all the entries, and read juror Christina (Chris) Bond's comments on the award-winning artwork and honorable mentions.

Golden Theoby Andrea Hieke
10 x 8 inches
Faber-Castell Polychromos, Derwent Lightfast, and Luminance Pablo colored pencils on Pastelmat. (Artist's own reference photo.)

Art is a gift. And sometimes, a trade. Let me explain. Our neighbor is a gifted cake decorator. This spring, we were thrilled to host a baby shower for our son and his wife. We agreed to swap one of her large gourmet cakes for a portrait of her goldendoodle puppy, Theo. Her cake was amazing — the theme of the baby shower was “Every Dog Needs a Baby.” Can you tell that we are all dog lovers? Originally, the portrait was going to be Theo’s head and neck only. I was fortunate enough to visit his house and take some photographs. The filtered morning light coming through the windows was perfect. Trying to capture Theo as he was jumping on and off his favorite wicker chair, excited by treats and his favorite people, made our photo shoot so much fun! When it came time to draw him, I just couldn’t walk away from the variety of textures and colors we had captured. Yes, the wicker was a bit of a challenge. It isn’t the symmetry of a fabric or pattern that I find difficult; it’s the deliberate variations required for a realistic rendering that force me to slow down and focus. The title was chosen because of a popular book that includes portraits. A happy portrait deserves a name that brings joy. It’s also a reminder to fully celebrate those special moments in our lives.

About Linda Metzger:

Linda is a self-taught artist based in Central Florida. After a knee injury ended her physical therapy career, she returned to the art she loved years ago and began using colored pencils in 2022. She specializes in realistic pet portraits because of her love for animals. Her work has been recognized and published in the U.S. and internationally.

See more at www.lindaspetportraits.com

Where Time Rests by Pauline Stuart
29 x 18 inches
Faber-Castell Polychromos, Caran d’Ache Pablo and Luminance, plus Derwent Lightfast colored pencils on Pastelmat. (Artist's own reference photo.)

The inspiration for this piece came from my love for dogs, mountains, and solitude. My happy place is walking the more remote fells near my home with my whippet, so I wanted to capture this special moment demonstrating the deep and enduring bond between man and dog, with the misty mountains in the background enhancing the atmosphere of calm and stillness. The title “Where Time Rests” implies that in this simple act of love and loyalty, time seems to pause, highlighting the comfort and peace found in such a bond. I used my favorite surface, Pastelmat, which enabled me to create the different textures in the drawing: the woolen tweed jacket, the polished walking stick, and the short, smooth-haired hound.

About Pauline Stuart:

Pauline, who describes herself as a hobby artist, took up drawing in retirement. She lives in the beautiful Lake District in England where she finds endless inspiration in the mountains, lakes, and wildlife that surround her home.

See more at www.facebook/p/Pauline-Ruth-Art.com

Waxwings by Ruby Fuller
11 x 17 inches
Caran d’Ache Luminance and Faber-Castell Polychromos colored pencils on Strathmore Bristol Smooth 300 series. (Artist's own reference photo.)

Seeing and photographing a rare flock of migrating wax wings for the first time near my home was such a joy. It was inevitable that they would end up on the drawing board. The drawing was composed from three of my photos and some imagination for the connecting background. My first attempt at using such a smooth surface was a huge challenge. By the third bird at the bottom I had a better understanding of the pencils and paper and achieved a smoother result by using a much lighter touch and more Luminance than Polychromos pencils. It was a huge learning curve, and I was delighted with the end result. The drawing now has a good home in Spain, but I still feel a bit sad that I no longer have it.

About Ruby Fuller:

Born in Whitstable and a daughter in an armed forces family, Ruby traveled and lived in many places. Toys were cumbersome to pack, but there was always room for colored pencils and paper. From a very early age, art was Ruby’s best friend. She learned to use colored pencils by trial and error, experimenting, and having fun. They are now her favored medium.

Download the digital version, 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 OCTOBER 2026 issue of COLOR Magazine.

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

• Coloured Pencil Pushers
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Colored pencils are ideal for realistic, detailed figurative drawing, but also allow for imagination, exploration, and artistic expression. I am free to challenge myself, to explore techniques, surfaces, color schemes, and pencils, which best set the scene to portray a unique story. Vacation photos are great sources of anonymous people in a variety of places. Painting random moments of enjoyment and relaxation expresses the world as a place where joy is found by those who look for it.

You Are My Sunshine – This tender moment captures my grandchildren in an enduring expression of sibling affection. 

“You Are My Sunshine” took three years and as many studies to complete – five years if I include the many days spent studying the photo, and drawing it in my mind’s eye. The photo of my grandchildren was taken by their dad, and is the August photo in a 2019 desk calendar. I studied each color and fold in the rainbow dress; how the stripes outline the shape of my granddaughter as she turned to cup her hand under her brother’s chin; his downward gaze and uncut curls; the warm sunlight that glowed between them; and the darkened shadows of a late summer afternoon. Painting this tender moment was my return to art.

I worked from an enlarged print of the small calendar photo that lacked crisp detail. I chose a Canson Mi-Teintes toned paper to capture the mood of a warm, late summer afternoon. I concentrated on her cupped hand and arm that connected them, his expression, and the glow of sunlight between them. I used shadow shapes, and exaggerated highlights next to dark shadows to create structure and form. The deep shadows hid details. I simplified the pattern in the dress, and used the stripes to form her complex gesture. I chose blue, red, and yellow pencils as base layers on the dress to develop the green, purple, red and orange stripes. Complex gestures, deep shadows, and a complicated dress did not deter me from capturing this enduring expression of sibling affection.


Spring Fling – Three young friends share a delightful spring morning before the days of summer and endless blue skies begin.

“Spring Fling” portrays three friends sharing a delightful spring morning before summer begins. I want the viewer pulled into an idyllic time of endless summers and blue skies. The reference was created from live photos I took of the girls at a pond one bright, sunny spring morning. The live photos captured the girls’ motion in frames from which I selected frames to position them in the scene. I removed difficult reflections, lily pads, and moss from the pond, and painted it a vibrant blue to reflect the bright sky and tall grasses. The duck, visible in a live photo, had the girls’ attention.

To show playfulness, I chose a palette of primary colors. I layered various blue and yellow pencils as a base to develop the values and green hues of the landscape. Repeating patterns of yellows and greens suggest soft grasses, shrubs, and distant trees against the sky. I chose Stonehenge paper because it would take many layers.

I changed the color of the girls’ clothes to be the hues of spring flowers. I exaggerated their movement using complementary colors to develop the vibrant highlights and deepest shadows. The stillness of the blue water emphasizes the movement of the girls frozen in a moment of surprise and glee.
The biggest challenge was composing the piece from several reference photos where the sunlight came from different directions. I used imagination to paint the duck’s reflection, and gave each girl unique characteristics.

Afternoon Delight  – A young couple relishes the tranquility of a warm, fall afternoon when the world disappeared and all that remained were themselves.

“Afternoon Delight” portrays a young couple relishing the tranquility of a warm, fall afternoon. I invite viewers to linger quietly and recall their own afternoons of delightful escape. The reference along the Danube River was taken on a day trip to Djerdap National Park in Serbia. The invasion of a tour group did not distract them. Was this their moment when the world disappeared and all that remained were themselves?

I followed the rule of thirds to place the woman’s face as the focal point. I used angles and shapes to determine the proportion and placement of the figures on a 45° line that bisected the paper. This placed the couple within a harmonious and balanced triangle; a repetitive pattern reinforcing harmony and symmetry.

I draw value, color, and freehand sketches to examine composition, map values, try color schemes, and decide what details can be removed. A value study revealed the deepest shadows under the male figure, her arm, and the wrinkles in his shirt that lead the eye to her face. The shadows connect the couple to each other and to the earth. Dapples of sunlight were strategically placed to create interesting patterns.

I chose an analogous blue-blue violet color scheme with orange-yellow complements. Blue-toned Canson Mi-Teintes depicts the Danube River, provides the midtones in his shirt, and illuminates her gaze. Though I trace the reference, a freehand sketch reveals nuances and the difficult aspects of the subject. The wrinkles in his shirt express his body language and attentiveness to his companion. The position of his head and her expression are crucial to the composition. If not technically correct, the entire piece will be wrong.

Lori Loré

Lori Loré studied fine art, was a graphic designer, earned an MS in System Engineering, and finally returned to art in 2021. She believes art is an engineering skill requiring analysis, design, problem solving, detail, and ingenuity. Lori lives in Vancouver, WA, and teaches the fine art of colored pencils to adults with no art background. Applying the system of value and color, students are astonished to discover they can create realistic art. Lori was published in CP Treasures, Vol 10.

Website: https://lorilorefineart.com/

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

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Summer in Beilngries by Andrea Hieke
11.8 x 17.7 inches
Caran d’Ache Luminance colored pencils on Fabriano Artistico extra white, hot pressed. (Original design/concept, drawn from life, en plein air.)

As an artist, my inspiration often comes from unexpected places. Sometimes it is found in a dramatic landscape, a powerful expression, or a meaningful story. For me, the inspiration for this drawing came from something much simpler: colorful lanterns hanging above the streets of my hometown.

Every summer, the historic town of Beilngries is decorated with hundreds of bright lanterns suspended high above the old streets. They have become a familiar part of the season, and yet they never lose their magic.

What I enjoy most is watching how people react to them. Visitors often stop, look up, and smile. For a moment, worries seem to disappear and the atmosphere becomes lighter.

The truth is that I react the same way.

Even after seeing these lanterns year after year, they still make me smile. They remind me that beauty does not always come from extraordinary events. Sometimes it can be found in small moments that many people pass by without noticing.

That feeling became the inspiration for “Summer in Beilngries.”

Rather than creating a portrait filled with drama or mystery, I wanted to celebrate joy, warmth, and the simple pleasures of everyday life. The reflection of the lanterns in the sunglasses became the heart of the composition. Through those reflections, the viewer is invited to step into the scene and experience the atmosphere of a summer day in my town.

The drawing was created with colored pencils, a medium I love for its ability to capture subtle detail and vibrant color. I wanted the bright lanterns, the warm sunlight, and the relaxed expression to work together to tell a story about happiness found in ordinary moments.

In a world that often feels fast and complicated, this artwork is a reminder to pause, look up, and appreciate the small things that bring us joy.

About Andrea Hieke:

Andrea Hieke is a self-taught German artist who works primarily in highly detailed portrait drawings using colored pencils and graphite. Working in a realistic style, she aims to go beyond a simple likeness, focusing instead on capturing atmosphere, emotion, and the story that lies within a single moment.

See more at www.facebook.com/andreahieke.fineart

If They Could Talk by Kimberlee Farnham
5 x 7 inches
Faber-Castell Polychromos and Caran d’Ache Luminance colored pencils on Pastelmat. (Reference photo used with permission from Pexels.)

There is a grammar to hands that no spoken language has ever fully captured. In colored pencil, layered and pressed into the grain of paper, that grammar becomes visible, a syntax of touch, of holding, and of reaching across the small distances between people.

What makes colored pencils so honest for hands is their intimacy. Every layer stroke by stroke with the artists own hands. Together, the hands in this drawing do what hands done best: tell a story without words. Rendered in colored pencil, these details do not merely describe; they sing. The waxy pigment follows the artist’s instinct, building warmth in the flesh tones, deepening shadow in the creases, and finding the cool lavender that lives surprisingly in what the eye first reads as simply skin. The colored pencils captured what photographs rarely do: not just what the hands look like, but what they mean. They speak of the people who belong to them, their ages perhaps, their tenderness, and the ease or earnestness with which they reach toward one another. Whether clasped or loosely gathered, overlapping or side by side, their arrangement carries meaning.

About Kimberlee Farnham:

Kim Farnham is a self-taught colored pencil artist. This medium allows for the fine details she thrives on.

See more at www.facebook.com

The Naturalists by Margi Hopkins
24 x 20 inches
Polychromos and Holbein colored pencils on 300# Fabiano Artistico, hot pressed. (Reference photo by Drausin Wulsin, used with permission.)

This is a commissioned portrait of two naturalists holding tulip poplar blossoms which are rarely seen up close, because they flower high up in the tree. Clearly this couple is enjoying their find.

This was a particularly daunting endeavor. Rarely is a human portrait commission easy, but this one was nuts. The photo reference was not mine. I would never have chosen the lighting. The female figure was in half shadow and shot on a phone with the low resolution of 72 DPI The edges of her face disappeared when blown up. Other important details were lost as well. I hadn’t met the clients in person, so I was completely dependent on a less than perfect reference photo. Oh and by the way, “Please include the entire background of the nature preserve.”

After some chin scratching I chose to use oil-based colored pencils. Even though, in my opinion, they are more difficult to layer than wax pencils, I predicted the resulting softness might allow for a more impressionistic piece. Another benefit was the ease with which they lifted using frisket film and erased where bright whites were needed. Achieving likeness was a challenge. But, with some educated guessing, and back and forth communication with the client, I got there in the end.

About Margi Hopkins:

Margi Hopkins, CPSA, SAA earned her BFA at Denison University specializing in printmaking and drawing. She opened Pepper Portraits in 2001. She is a signature member of the Colored Pencil Society and the Society of Animal Artists. She is also a member of Masterworks for Nature.

See more at www.pepperportraits.com

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

This colored pencil drawing is very different from anything I have created or captured in my artistic journey, both in subject matter and composition. I continue to be inspired by the beauty of nature and wildlife while looking for inspiration to expand my knowledge and skill to create something fresh and new. Thirteen years of drawing commissioned pet portraits allowed me to study and focus on drawing eyes that could speak to the viewer and fur that they might imagine how it felt to touch. I love drawing feathers and drawing birds provided the opportunity to create with colors that I otherwise seldom used. As a student of the craft, I have tried different types of pencils, papers and methods, resulting in the joy of trial and error.

STEP ONE

This drawing was first inspired by my love of music. I studied and played flute in high school and college while both my husband and son play guitar, and I often listen to music while drawing. There are guitars hanging on the walls of my living room and represent another form of art that I enjoy. Each month, I join my husband while he plays guitar in an old-time jam event in our local West Virginia community. I often draw while I listen to them play and recalled having a photo that my son took of his guitar. I love everything about it from the composition to the capture of light and shadows as well as the straight strings to the wavy wood grain. The vibrant color also would challenge me to maybe use some of those pencils that are neglected in my studio. The composition draws your eyes from light reflections to empty darkness in the sound hole with the strings leading the way. Drawing a complete guitar, including the neck and headstock, would require additional context to avoid the look of an instrument floating in air, and I loved how this example would fill the space perfectly.

STEP TWO

I chose Stonehenge Rising Paper for the foundation of this five-layer drawing. I set the strings in place with Prismacolor Premier, wax-based white pencil to hold a sharp line as I applied odorless mineral spirits with a brush after each of the first three layers. Prismacolor Verithin pencils were used to finish the detail of the strings, and a combination of Derwent Drawing, Derwent Lightfast and Caran D’Ache pencils were used on everything else. I keep my pencils very sharp and use a whisper touch to apply pencil to paper. This avoids paper damage and allows additional layers to be added. It may come as a surprise to know that no black pencil was used to create this drawing.

“This drawing was first inspired
by my love of music.”

Finished

My greatest challenge was to define the different parts of the instrument, knowing that the viewer would likely understand the anatomy of a guitar and quickly observe any irregularities in my creation. I asked questions about what I was drawing such as why the saddle looks broken or in two parts. I learned that Takamine guitars are one of the few brands that design their saddles to provide a proper intonation of the fifth and sixth strings. This guitar also shows the ends of each string that are often hidden inside the body of most other acoustic guitars. I thought that this drawing might inspire conversation by other artists as well as musicians. The actual guitar was not available to reference while drawing, so I had to understand what I saw in the reference photo to recreate it faithfully. This very old cedar top instrument had aged, and I was challenged to detail the visual result of time and use that a guitar endures.

I found great joy in expanding my subject matter from feathers and fur to wood and steel. I hope this might inspire other artists to give something new a try.

Colored Pencil Blending Techniques Used in Good Vibrations

• Build color gradually across five layers.
• Apply odorless mineral spirits after the first three layers.
• Keep pencils sharp for precise details.
• Use a light touch to preserve the paper’s surface.
• Layer colors to create natural darks instead of relying on black.

Want to keep practicing? Explore our colored pencil tutorials, start with beginner colored pencil lessons, or discover another layered blending approach in A Portrait With a Dappled Background.

Karen Dimaio

About the artist: Karen was born and raised in Maryland and earned a Finance degree from Towson University. In 2013, she happened upon a “How to draw birds” book and thought, “Why not give it a try?” After drawing every bird, she drew her Pembroke Welsh Corgis and found that she was able to capture their likeness and spirit as her skill increased. She drew pet portraits until she retired to West Virginia in 2020. She now draws wildlife seen on her homestead, enjoys gardening and listening to music and audiobooks.

Ready to explore color more deeply? Visit the Mastering Colors series

Just Chillin'by Andrea Hares
7.3 x 11 inches
Polychromos colored pencils on Mounting Board. (Photo reference by John Cameron, used with permission.)

We are lucky to live on this beautiful planet. Let’s face it: There is so much to inspire people to be creative, be it the written word or the visual wonders we have.

I am draw to nature. The ability to get so very close to creatures who would probably not sit down and let you pet them is remarkable.

I felt I had been allowed to share a personal space with this leopard. He is so comfy and relaxed, looking like he had just had a little snooze, hence the title Just Chillin.

There were many complexities in this piece: the fur, bokeh background, and achieving life in his eyes. Keeping the colors true and ensuring I achieved a real depth to the piece were important, hopefully making the viewer feel that they too had been briefly invited in.

About Andrea Hares:

Andrea has been married to Peter for 35 years, has one son, Adam, and a very loveable, demanding pooch called Sam. Since retiring four years ago, Andrea is loving creating very detailed artwork and shares her time with this and looking after her 93-year-old dad.

Ivy League by Kathryn Hansen
17.25 x 12 inches
Prismacolor colored pencils on Canson Mi-Teintes Velvet. (Artist's own photo reference.)

About four years into our seven-year journey fostering cats of all ages, Diamond and her sister Dolly came into the care of my youngest daughter and me. They were among the most beautiful cats we had ever fostered, and we fell in love with them immediately. Dolly was eventually adopted, while Diamond stayed a little longer. In time, she became so woven into the fabric of our family that adopting her felt inevitable.

In our new home, Diamond rarely ventures beyond our small back patio, so when I noticed her sitting quietly and contemplatively on the steps to the upper terrace, I stopped sweeping leaves and took a few photos. Looking at them later, I was struck by her beauty in that moment and knew immediately I had to draw her, adding her portrait to the wall of pets I’ve drawn over the years.

About Kathryn Hansen:

Kathryn Hansen’s drawings are focused around her passion and devotion to animals and nature. After her art training at the University of Stevens Point in Wisconsin, earning a BFA in Studio Arts, she studied illustration at the Milwaukee Institute of Art and Design, and then fine art at the Associates of Arts in Sherman Oaks, CA.

See more at www.kathrynhansen.com/

Man's Best Friend by Vanessa Harding
8.7 x 11.8 inches
Polychromos and Derwent colored pencils on Canson Mi-Teintes Black. (Artist's own reference photo.)

My father passed away last year followed shortly by his Jack Russell, Milly. Having been bed bound for the last 18 months of his life, his two dogs brought him great comfort. I loved the photo of him and Milly enjoying a tender moment together, and I felt this drawing would be a lovely memorial and bring some comfort to my mother.

The lighting and the shadows enhanced the mood of the drawing, giving what I hoped would be an Old Masters’ feel to the drawing.

Using black paper was a first for me, having always used drafting film previously. I was pleased with how the drawing turned out and, whilst challenging at times, using this paper added to the development of my skills.

About Vanessa Harding:

Vanessa is a self-taught artist living in Hampshire. Having been forced to retire early due to ill health, she looked to art to bring her enjoyment and fulfilment again. She found colored pencils and has continued to develop her skills by further focusing on capturing realism and attention to detail in her drawings.

See more at www.facebook.com/vanessahardingart/

Download the digital version, 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 AUGUST 2026 issue of COLOR Magazine.

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

• Coloured Pencil Pushers
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• UKCPS Members Group
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by Cyndie Hammond

Retirement can be an enlightening transition, but it is often shadowed by fear of the unknown and a tendency to overthink. Combine that tenuous shift from work to leisure with the gray, isolated days of Covid 2020, and the result was a perfect storm. I meandered through that time finding solace in ways that fit my needs. Human connections were extinguished and replaced with online solitude. Curiously, my digital venture wasn’t to find human connection; it was a search for color. Nothing in our world seemed real, and instinctively, I sought comfort and strength through vibrant, expressive hues.

“I embraced visualization and ideation,
letting my intuition loose.”

Pinterest searches led to my discovery of artist Sally Trace, who ignores realism and uses color to depict emotion. I reveled in the shapes and colors of stained glass creations inspired by the work of architect Frank Lloyd Wright. The complicated world outside helped me appreciate the intricate photographic process of Jamie Heiden, whose messages are clear and poignant. In addition to online binges, television provided comfort; I discovered the colorful world of Australian painter Anna Blatman while watching *The Block*. I embraced visualization and ideation, letting my intuition loose.

The discovery of works by Jason Anderson and Osnat Tzadok created motivation, and my intuition selects the subject; it either “feels” right or it doesn’t. Abstract ideas regularly wiggle to the surface. I relax into the process of creating lines, shapes, and spaces. Sometimes an image is in my vision; sometimes it is not. Often, the image develops during the process. If it feels right, I draw the line. That is not to say I haven’t changed my mind during the color application.

I start with the center focus of the drawing—interestingly, that is where the most vibrant colors are applied. My fingers select the pencils; I’ve learned not to overthink the selection. Unnatural color pairings are thrilling. Unlike many artists, my work isn't finished section by section. I am scattered and random: center, foreground, corner, then back to center. …as is my art: scattered and random representations of life’s emotions, glimmers of hope, snapshots of moments, and colorful images of new beginnings.

Summer Peek

Summer Peek: I chanced upon a 2D iron wall hanging of a tree, and thought, “What if I use that as a view?” That question and the possibility excited me. There it is. The obvious motivation and inspiration to pick up my pencils. The lines just happened, the forms found their places; the process had breath. It turns out the lines found representation through color: mountain peaks, sunlight, hills, and sky. Curiously, I added a second circle with muted colors and a diagonal line that separates one side from another. It was a compelling feeling—I only knew a line must exist, and the circle needed to be there. The title followed as the tree became the window to a view.

Shards of Spring

Shards of Spring: There was no photo, no sculpture, no visual inspiration other than sunlight. The work began with circles, and in my mind, each was filled with sunlight yellows, tempered oranges, and vibrant pinks. There was no plan. It was a time of my life that I needed sunlight and blue. The work is a heartfelt intention to create joy for me at a time that I needed it. It’s a snapshot of color, warmth, and comfort. Sometimes the title comes to mind and work developed to match; sometimes, the title emanates from the work. Color shards named the piece.

Red Bird

Red Bird: In this case, I was perusing through Pinterest and happened upon comical bird art, photography, drawings, and illustrations. Intuition reviewed, discounted, and singled out images that evoked memories; and then, I paused. The cardinal is a Midwest childhood memory and a symbolism for lost loved ones. The idea became personal, and the work developed with love. In my mind, I created a vague representation; however, the design developed as tears flooded my eyes, as lost memories resurfaced, and as color was applied.

Color has a language of its own. My work shifts away from realistic colors in favor of strong, expressive, and often clashing hues. I don’t focus on intricate details or perfect perspective. I trust my process, though the early "color chaos" can still create stress. Trust the process.

Cyndie Hammond

Cyndie’s journey began in a one-room schoolhouse outside Green Bay, WI. Her childhood was defined by winter drifts, summer mosquitoes, and railroad trips to Idaho in Pullman sleepers. She resides in Fort Collins, CO, with her frame-maker husband, Jim, and a Ragdoll kitten. They remodeled their eighth house and saved packing blankets—just in case. Her work appeared in *Colored Pencil* and galleries in ID and CO. Most recently, Cyndie’s work was selected to represent the 2026 Festival at Sandpoint, ID.

Instagram: cjhammondart

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

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

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Koi Amidst The Tranquil Waters by Bonnie A. White
9 x 12 inches
Prismacolor colored pencils on Canson, Bristol vellum textured surface. (Photo reference from Pexels.com, copyright free/public domain.)

I have always been drawn to nature and water, having nurtured Koi for years. But when I started this piece, I was drawn to see them in an abstract world of color that would match their brilliance. The reflections and suggestions of their school are minimalized but still show the grand scheme of their colors and family ties. Water carries the most beautiful reflections and can represent anything your mind creates at that moment. The deeper blues suggest cooler waters emerging into the warmth of greens, carrying tiny microscopic life amongst the koi. The detailed scales in an array of colors get lost as the deeper water swallows the moving tail. I wanted this piece to bring all the feelings of water that we experience and to cool us as well as bathe in its healing warmth. While experiencing this, let your mind take you to wander in a place of tranquility.

About Bonnie A. White:

The artist, created from a time too young to recall, sold her first piece at the young age of eighteen. She gives glory and honor to our Father for her gift, and the late Beverly Melrose, whom she studied under. She continues her work as a commissioned portrait artist while veering into many mediums and subjects with a passion for colored pencils.

See more at www.facebook.com/bonnie.white.31337

Our Tap by Gillian Samuel
11 x 7 inches
Prismacolor colored pencils on Canson Colorline 220 gsm. (Artist's own photo reference.)

I love to continually challenge myself and break away from the usual format. For me that is animals But then I discovered the beauty of old metal when I was traveling through Europe. I was fascinated by historic buildings and photographed many doors and door furnishings. I loved the colors of the old metal and the thought of all the hands through time that have touched and molded them.

I used these reference photographs and drew a series of works. Prismacolor pencils are my preferred medium and are perfect for blending. They allow me to create the beautiful, muted colors and tones. Who would have thought though that the piece I submitted, a simple garden tap, could become such a beautiful and worthy work of art?

About Gillian Samuel:

Gillian emigrated to Australia from the UK and lived an equestrian life until she retired and picked up a pencil. Predominantly an animal artist, she is in high demand for her detailed pencil work. She specializes in dogs and horses.

See more at www.facebook.com/animalartbygilliansamuel/

Hare in a Spring Garden by Jan de Ville
12 x 18 inches
Polychromos, Luminance, and Pablo colored pencils on drafting film. (Reference photo of the hare by Debbie-Anne Hope, used with permission.)

Hares are very mystical in English folklore. At the time I had a beautiful English cottage garden so l imagined the hare hiding in and around all the nooks and crannies of my herbaceous borders amongst all my favorite spring flowers. Every flower you see in the drawing was growing in my garden. The drawing evolved over a few weeks as various plants blossomed. They all looked so pretty so I just kept incorporating them as l went along, and the drawing ended up a lot bigger than l had intended.

We don’t see so many hares nowadays, but when you do it’s something that will stop you in your tracks; the most usual place is in field gateways. They are definitely one of my favorite animals to draw.

About Jan de Ville:

Jan is a self-taught colored pencil artist from North Devon, UK. She is inspired by the spectacular coastal scenery of her local area and has a lifelong love of nature and animals.

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

Long before I began my own artistic journey, I loved looking at art and visiting museums. All these years later, I can still recognize the works of certain artists by their unique artistic voice. Surfing through online colored pencil groups, I realize I can often identify a specific artist by their work as well. I began to wonder: Do I have a unique artistic voice?

In the Zone, 11" x 14," colored pencil. Reference photo my own incorporating reference of colored pencil shavings by Suzy Hazelwood from Pexels

Before I could answer that, I needed a better understanding of what artistic voice is. So, putting on my analyst hat, I did some research and arrived at what I hope is an accurate description: Artistic voice is the unique and distinctive signature of an artist that sets them apart from others. It is an amalgamation of the artist’s personal life experiences, perspectives, emotions, style, technical skills, and epiphanies, which form consistent, recognizable patterns. It evolves with the artist over time and cuts across all mediums. Unlike style or technique alone, which can be seen and duplicated, artistic voice conveys the inner emotional soul of the artist.

With that in mind, and prompted by a series of questions posed by professional Australian artist, tutor, and mentor Kate Jenvey, I decided an introspective review of my artwork was a good place to start my quest. Although spread across 34 years, I have a small body of work to date in either graphite or colored pencil, with most of the latter from tutorials. What could I possibly learn? As it turns out, quite a bit… about myself and my art.

“Then, hopefully, one day, like so many of the artists I admire,
my voice will be recognizable as well.”

After hours of review and contemplation, I had an epiphany. My father was a huge influence on my life. Among other things, an avid photographer, he took thousands of snapshots to document our travels and life during and after his military career. Family, people, nature, architecture, the ordinary day-to-day things around him. You name it, and he took pictures of it. My artwork mirrors that: snapshots in time, capturing life’s fleeting moments before they are gone.

Eagle Eye, 10” x 14”, colored pencil. Reference Photo by Les Liddle with permission from the FB Group Free Reference Animal Images for Artists

One of my earliest colored pencil drawings from 2023, “In the Zone,” strives to capture the quiet mindfulness of living in the moment, where time stands still when focused on a drawing. What started off as a simple challenge within Bonny Snowdon’s academy to draw a specific reference ended up as a visualization of my artistic journey. Rather than just copying the reference, I wanted to tell a visual story, to evoke that emotion. So, I set up a still life, incorporating the reference photo of colored pencil shavings as a focal point, adding new elements of sunlight shining through the window onto the desk, the colored pencils, and my own hand drawing the shavings in the reference.

History, science, and the natural world are a large part of my life. The ordinary and extraordinary things we share our world with. Past and present. When I see old documents, vintage items, or old buildings, I wonder about the people and events associated with them. I marvel at the diversity and majesty of the natural world. These topics are often the focus of my artwork.

In my portraits, I strive to create a connection and intimacy between the subject and the viewer. To make them care about it and its existence. This is particularly important to me, given the fragile nature of people, many ways of life, habitats, and species today. To date, much of my animal work, like this magnificent Golden Eagle from a photograph by Les Liddle, takes a macro view of the subject, with emphasis on the eye to help create that connection.

Bygone Days, 10” x 12”, mixed media – colored pencil, Micron Ink Pens, graphite

To close out 2025, I decided to challenge myself with my first solo landscape. I’d taken this photograph of an old building along the Mississippi River decades ago with the thought of drawing it one day. My lack of skills and knowledge of perspective had always held me back. I finally felt confident enough to try it. I experimented with using colored pencils, pen and ink, and exposed graphite to achieve the atmospheric look I was after, to emphasize the derelict nature of the building and old dead tree against the vibrant hues of autumn in the trees along the opposite riverbank.

So, the answer to the question is yes, I do have an artistic voice. Still in its embryonic stages, perhaps, but it is there. I just need to nurture it by building up my body of work through prioritization, practice, and continued development of my skills, style, and understanding of the fundamentals of art. Still early in my artistic journey, I’m not sure where I’ll end up. But as I grow as an artist, I want to continue to investigate life’s fleeting moments, past and present. To capture the natural world and life’s constant change, fragility, and interconnectedness. Then, hopefully, one day, like so many of the artists I admire, my voice will be recognizable as well.

Debbie Dodge

Debbie Dodge is a self-taught pencil artist, retired government imagery analyst, and retired military veteran. Her focus on colored pencils began in 2023, after an 18-year hiatus from art. A keen observer of life, her artwork is inspired by the natural world and the stories of ordinary, everyday things and people around us… past and present. Debbie relocated from Washington, DC, to the St. Louis, Missouri, area in 1994, where she resides with her husband, Doug, their Australian Shepherd, and cat.

Henry and Daisy Go For A Walk by Alan Watters
9.5 x 12.6 inches
Polychromos colored pencils on Pastelmat. (Photo reference by Sally Moore, used with permission.)

I finished drawing this memorial portrait of Henry’s beloved cockapoo Daisy recently. I was sent several photos of Daisy by Henry’s partner Sally Moore, and one of them also included Henry. Sally is a lawyer and a very special person to me and my family, because 20 years ago she fought so hard to get justice for my daughter who nearly lost her life when she was run over by a driver who was texting on his cell phone.

I decided to use the one of Daisy and Henry together to draw from. It was to be a surprise present for Henry and my choice of photo to use was also going to be a surprise to Sally who commissioned me, so I was nervously crossing my fingers that they would both be happy with what I had done.

I was ultimately so relieved to find out that they both loved it, phew! Now, I was very lucky that it all went well in the end, but I would definitely recommend to other artists that they always agree with their clients about which reference image is to be used to produce commissioned artwork.

About Alan Watters:

Alan Watters lives in Wiltshire in the UK and got back into fine art after retiring from a long career in technical and graphic design seven years ago. He originally discovered his talent for drawing when he was bored in class at school and started drawing little caricatures of his teachers and classmates which his friends seemed to like.

See more at www.alansfineart.com

Lion's Lookout by Karen Chapman
14.2 x 11.8 inches
Polychromos, Luminance, Pablo and Derwent Lightfast colored pencils on drafting film. (Reference photo by Felix M Dorn, Unsplash.)

I have always been passionate about nature and wildlife, and while searching for reference photos for my wildlife drawings on Unsplash I came across a fabulous photo by Felix M Dorn of this amazing lion, and was immediately captivated by it. I loved the lion’s stance, surveying her surroundings on the savannah, and I was mesmerized by the intensity of her eyes. I knew I had to draw this stunning lion. I’ve seen many lions in wildlife parks and zoos, but never yet had the opportunity to see them in the wild. Drawing this lion made me feel closer to nature and wildlife. Hopefully one day I’ll get the chance to see these incredible animals in the wild and take my own photos of these amazing animals.

About Karen Chapman:

Karen Chapman is a self-taught artist living in Cornwall. She has painted local landscapes and seascapes for more than 30 years. In 2020 she rekindled her early love of drawing, discovering the stunning colors and the detail achievable with colored pencil. Although she still loves to paint, she has begun a new chapter in her art career creating wildlife art.

See more at www.facebook.com/karenincornwallart/

Moonlit Taste by Monica Wiles
13 x 100 inches
Polychromos, Luminance and Derwent Drawing colored pencils on drafting film. (Reference photo from Unsplash.)

Living in Virginia, encounters with wild deer are part of everyday life. They move quietly through wooded edges, fields, and even neighborhood yards, carrying a calm presence that always feels a little magical. Wanting to capture that quiet majesty, I began searching for a reference photo that reflected the same gentle moments I often witness in nature.

The image that inspired Moonlit Taste immediately resonated with me. The deer’s upward reach as it nibbles ivy combined with the soft light on its face captured a fleeting moment of stillness. It felt like one of those rare pauses in nature when everything becomes calm and quietly beautiful.

This piece allowed me to explore the depth and richness that layering can achieve. I focused on building the contrast between the darker woodland tones and the soft glow of light touching the deer’s face, while carefully rendering the textures of the fur and the delicate softness of the velvety antlers.

What makes this piece special to me is the sense of peace it holds. Deer are incredibly graceful creatures, and their beauty often appears in the simplest, most unguarded moments. With Moonlit Taste, I hoped to capture that fleeting stillness and share a small reminder of the quiet wonder that exists in the natural world.

About Monica Wiles:

Monica Wiles is a Virginia-based colored pencil artist known for her realistic animal portraits. Though she works professionally as an engineer, art has always been her true passion. She began focusing on colored pencil in 2023, discovering a connection to the medium and its ability to capture details along with the quiet spirit of the subjects.

See more at www.facebook.com/artfur.wiles/

Download the digital version, 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 JUNE 2026 issue of COLOR Magazine.

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

• Coloured Pencil Pushers
• Colored Pencil Corner
• UKCPS Members Group
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• Creating with Colour Pencil

As an artist, we are often faced with a lot of rejections: “thanks, but no thanks” or “maybe next time.”

My journey as an artist, like so many of us, started when I was little. When I reached secondary school, I studied both GCSE and GNVQ art simultaneously. However, I was still told by my teacher at the time that I was not as good an artist as my fellow classmates. I would push harder with my work, believing that I was at fault! I got top grades.

Kingfisher, 600x400mm. This kingfisher was photographed in Budleigh, Devon. Such wonderful colouring — it had to become an artwork. This original sold in my first art trail.

Moving into 6th form, I was still told the same thing. I was studying an Advanced GNVQ, which I was told was the equivalent of the foundation course at university, so I would not need to complete the foundation year when I reached that stage.

I would strive to push myself harder and harder, and although my work was celebrated by the school, my teacher still continued to tell me my work was not as good as the other people in my class. Repeatedly being told you are not good enough and you will never be as good an artist as my classmates was really hard. I left 6th form with top grades… My next hurdle was universities!

“It takes courage and resilience
to be an artist.”

I got invited to interview at every university I applied for (I think it was about 5 at the time). I worked my socks off to prepare my portfolio and was proud of my body of work. But… uni after uni said, “Sorry, you’re not good enough. You need to complete the foundation year; in fact, you may need to do 2 years to bring your work up.” I was crushed! Again, being told my work was not good enough. I genuinely started believing it. I started to lose faith in my work and, worse still, my abilities as an artist.

So… feeling low on confidence and dejected, I persevered and applied at the local college that had just started offering an HND in fine art and then said they would offer successful candidates the opportunity to stay on and complete the full degree. This was not a great place to study: lessons in corridors and no-show lecturers. I knew I wasn’t going to get anywhere with them. So I gave up and left. I felt a deep passion and motivation for art, but I didn’t have a clear path to follow, so I created solely for my own enjoyment.

Fast forward a bit, and when my children were small, my artwork dwindled to occasional pieces because art is in my blood, and not creating was to deny myself. Life moved on, and my children have grown. Now, with my ever-supportive husband, family, and friends, I have re-prioritized my artwork, and my art is flourishing!


Junior, 600x400mm. This grey seal pup was taking his first swim, and we were lucky enough to witness it. Created using my photo reference, it had to become an artwork.

With my creativity flowing again, I took on a couple of commissions, and client responses did a lot to help boost my confidence.

I eventually found the courage to try for a local art trail, and to my amazement, my work was very well received, and I sold one of the pieces. There is something very humbling when someone chooses to pay for your artwork like that… no hidden agendas or anything, just genuine love for your work. Not only did this person purchase my work, they went to great lengths to track down my artwork that they simply had to have. Having seen my work on the last days of the trail, when they returned, my work had been taken down, so they had to do some hunting to find me. But find me they did, and they purchased the work they had fallen in love with.

From then onwards, my work has grown. I secured a commission from a local pub, and I also made my first international sale. With my belief in my work growing, I pushed the boundaries more and started submitting for exhibitions! They say that for every 10 entries you do, you will only get 1 positive back. I’m not sure if that is true, as I have had many, many “no thank yous.” But I started keeping track of the positives… all those successes, so that when I get those self-doubting thoughts creeping back in, I can look at the ever-growing list of positives. It helped me remember not to focus on the negatives.

This photo was taken during a photo shoot with my works when taking part in my latest art trail.

When my work got selected for a large local gallery, I was absolutely blown away! This was my work… the same person who had been told that my work was not good enough!!! I just couldn’t believe it!!! The voices of “you’re not good enough” were a distant memory; I was going from strength to strength.

I am an award-winning artist who has had international sales, been published, had multiple exhibitions, multiple sales, multiple commissions, and has recently become a proud member of the Association of Animal Artists.

Working in a secondary school myself, I support students with the beginning of their own artistic journeys. I have many plans for this year: many artworks waiting to be created, many more exhibitions in the pipeline, charity auctions, and much, much more coming up this year.

I have learnt not to always listen to those who think they know you as an artist and to believe in yourself and have faith in your art. It takes courage and resilience to be an artist.

I put so much of myself into each and every art piece I create, and it can really knock you back when you get constant negativity about your work. But… believe in yourself and who you are, and keep creating in whatever form that takes.

Laura Hammond

Laura, an artist from Southend-on-Sea, has developed her skills through self-teaching. Primarily working with colored pencils, she values the medium’s simplicity and gentleness. Her artwork often celebrates her deep love for animals, particularly wildlife. Intuitive in her creative process, Laura’s choices reflect her passion. As an award-winning artist, she has gained recognition through publications and has showcased her work in various exhibitions and commissions.

Facebook: LoveArt – by Laura Hammond

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

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

• Coloured Pencil Pushers
• Colored Pencil Corner
• UKCPS Members Group
• Bonny Snowdon's Coloured Pencil Group
• Creating with Colour Pencil

Iggi by Eva Mariaca
13.8 x 19.7 inches
Polychromos, Pablo, Luminance, and Derwent colored pencils on Pastelmat. (Photo reference by photographer Klára Černá, used with permission.)

Iggi is a German Boxer, a show champion, and an amazing dog not only in appearance but above all in temperament. He is a large dog who loves other dogs, cats and people; he is completely non-conflict and very affectionate. For this reason alone, drawing him was a great pleasure. The beautiful reference photo, focused on the head with the neck blurred, offered the opportunity to play with every detail and then relax while working on the blurred areas. Thanks to this, the head literally stands out from the image.

The Pastelmat surface on which Iggi is drawn is wonderful for capturing a velvety texture, but it is somewhat more demanding when drawing very small details. Thanks to the relatively large format of the drawing, it was possible to capture he velvety quality of the coat and many fine hairs, giving the artwork a highly realistic appearance.

About Eva Mariaca:

Eva Mariaca is a Czech artist who has been devoted to drawing since childhood, but in recent years she has been deepening her skills, specifically in colored pencil drawing. The alchemy of mixing colors directly on paper, and the fact that CP can confidently compete with other media, fascinates her and motivates her to continue her work.

See more at www.evamariaca.cz

Born to be Wild — Save Them by Gemma Gylling
18 x 24 inches
Prismacolor, Derwent, Luminance, and Pablo colored pencils on Clairefontaine Pastelmat. (Artist's own photo reference.)

“Born to be Wild” is a reflection of my deep admiration for wildlife and the intricate beauty of the natural world. This artwork was inspired by a moment of quiet observation during an early morning safari, when a leopard crossed our path. Witnessing the animal’s cautious movements and its graceful retreat into the tall grass, then finally to a clearing, I was struck by the sense of mystery and presence that wild creatures hold. The vibrant backdrop of bushes and the interplay of light and color compelled me to capture this experience on paper.

My practice is guided by a passion for portraying animals as sentient beings whose spirit and vitality shape their landscapes. In this piece, I aimed to reveal the elegance and the resilience of the leopard, inviting viewers to connect with its essence and to appreciate the subtle details that render wildlife so extraordinary. The textures of fur, the glimmer in the leopard’s eyes, and the surrounding energy of nature are the elements that continually inspire my creative process.

Through my art, I strive to create windows into the souls of the animals I cherish, offering a glimpse of their inner worlds and the quiet power they possess. “Born to be Wild” is more than a depiction; it is an invitation to pause, observe and celebrate the richness of life that thrives all around us.

About Gemma Gylling:

Gemma Gylling is an accomplished artist renowned for her stunningly realistic animal and wildlife art. With a passion for capturing the spirit and essence of her subjects, Gemma’s work is celebrated for its meticulous detail and lifelike quality. Her pieces often reflect her deep appreciation for nature and her commitment to animal conservation.

See more at www.gemmagylling.com

A Waiting Heart by Jenny Bowman
16 x 20 inches
Prismacolor and Caran d'Ache colored pencils on Pastelmat. (Artist's own photo reference.)

I was inspired to create “A Waiting Heart” by the quiet, unwavering way she waits for me to step away from my desk each day. It’s a small gesture that somehow captures the entire spirit of a dog’s unconditional love. She’s a rescue, still nervous about the world and unsure of her place in it, carrying shadows of a past I’ll never fully know. Yet from the moment she came into my life, she brought with her a depth of connection I didn’t expect.

There’s a gentleness in the way she leans into me, a trust she offers slowly, piece by piece, as if she’s learning that she’s finally safe. And in caring for her, I’ve realized how much she’s cared for me in return. Honestly, I think we saved each other: two hearts learning to breathe a little easier, finding comfort in the simple act of being together. Her presence reminds me every day that love doesn’t have to be loud to be life changing. Sometimes it’s just a soft body curled at your feet, waiting for you to come back home.

About Jenny Bowman:

Jenny has loved creating artwork of animals and pets since childhood. Her work reflects a lifelong appreciation for their personality, loyalty and the quiet emotional connections they bring to our lives.

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Twenty-five years of teaching middle school went by in a blur, and when I retired, I turned my energies into my artwork. I began by joining a newly formed group of urban sketchers. We met in various locations around our community capturing scenes in our sketchbooks. I posted my work online, and it caught the eye of a restaurant owner who was interested in displaying it in his venue. However, they were done in simple graphite, and he wondered if I would recreate them in color, so I did. Those first five sketches became the beginning of a forty-image collection that I later published as an adult coloring book, Color Eau Claire. This book is in its second printing.

Alpaca Posers

After the success of that first book, I co-illustrated with my brother Jeffery Holvick forty scenes that showcased the northern Wisconsin area where we grew up in Color Chequamegon Bay. While these books were detailed and more appropriate for adults, the next book, Color the Chippewa Valley, was created with simple compositions and thicker lines with children in mind.

I was commissioned to do various local businesses in a larger format which led me to using a 24” x 36” size in my signature artwork. While I admire many artists who create realistic images with colored pencil, in my own work, I love the freedom of creating whimsical images that surprise or bring a smile. Each scene has just enough realism to let you know what subject I’m illustrating, but the fun comes with the surprise of an unexpected color, texture, or playful misdirection of items. I exaggerate proportions, natural colors, or logical reasoning regarding the scenes. It’s fun to add something that makes the viewer take a second look. A local roadside diner in front of purple pine trees, surrounded by antique vehicles covered in brightly colored polka dots? Of course. An eye-goggled rabbit riding a Vespa with flowers spewing from the tailpipes? Yes. Unlimited possibilities, and that opportunity is what brings the next piece of blank paper easily to the easel.

The Volume One Local Store

Each image takes about three weeks to complete. I spend at least a week planning and sketching out the initial scene, as once color is applied, it isn’t as easy to make corrections. Then another two weeks are filled with the application of color. I push myself to try out new techniques to build texture and contrast. I blend by adding layers and using a colorless blender, but I do not use any other solvents. I can spend three days just coloring in a one-color background. While other artists may lament the amount of time colored pencil work takes to complete, the longer I spend with an image, the more I get to enjoy the unique challenges it brings.

“I love the freedom of creating whimsical images
that surprise or bring a smile.“

Some people who view my large-scale work for the first time remark that I should be illustrating children’s books, but I have yet to sell one for display in a children’s room. Forty of my colorful urban sketches are hanging on permanent display in our area museum and others are displayed in local businesses where the buyers wanted a pop of color and a bold, confident statement that showcases their location. I enjoy the challenge of creating commissioned pieces that hold special significance to the buyer. Some private collectors own multiple pieces that they proudly display in their homes, often flanking a fireplace or in the entryway, proving we are never too old for joyful art in our lives.

Picnic Basket

Currently, I am working as an in-house artist at Decadent Gifts and Gallery in Eau Claire, Wisconsin. In this role visitors can watch me create my colored pencil images while they are on my easel. I have social media followers who enjoy giving me suggestions of objects to sketch, and throwing together their random ideas has created some of my favorite images.

I have displayed and sold my artwork in various midwestern Wisconsin locations, and although I am not much of a traveler myself, my artwork has found its way into a few art publications and onto five continents. Four of my recent images were chosen to be exhibited in Wuhan, China, but travel and shipping restrictions will be delaying that opportunity for the time being. My goal this calendar year is to obtain a one-person gallery exhibit in the Midwest that could feature up to thirty of my signature whimsical images.

I encourage people to follow me on Facebook and to consider the invitation to add a bit of whimsy to their artwork and their lives. Color yourself amazing!

Patricia A. Hawkenson:

Patricia was a National Board-Certified educator until retirement. She has illustrated three local coloring books, Color Eau Claire, Color the Chequamegon Bay, and Color the Chippewa Valley. Forty of her local images are in a permanent collection at the Chippewa Valley Museum. Her whimsical colored pencil artwork has been displayed in regional galleries, and her artwork has been published in Colored Pencil Magazine. She is an in-house artist at Decadent Gifts and Gallery in Eau Claire, WI.

Facebook: Patricia A. Hawkenson

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

FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS

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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.

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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
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• 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

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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