A comprehensive starter set including a wide Gray scale selection and basic colors commonly used in design and comic illustration. 【PREMIUM ALCOHOL-BASED MARKERS MADE IN JAPAN】A fast-drying, transparent alcohol ink will not harm the surface or fibers in the paper allowing it to remain smooth. The ink used is low-odor and non-toxic. Oval barrel designed for comfort. 【REPLACEABLE NIBS】SUPER BRUSH & MEDIUM BROAD: The flexible brush nib is ideal for blending, shading, and for drawing both thick and thin strokes. The broad nib is perfect for producing consistent lines and for adding details to your creations. The broad nib can be also used with the Copic ABS (Airbrush system). 【REFILLABLE】a separate ink refill product "Copic Ink" allows you to save money and be friendly to the environment. 【ACMI certified】all Copic markers are ACMI certified and conform to ASTM D-4236. 【New Plastic Case】This product comes in a new improved plastic case with a new package design. Marker colors are exactly the same as the previous model.

What's the secret to blending Copic Markers? Does paper matter? Find out these answers and other Copic Marker secrets that self-taught colorers never hear in this guest article from Amy Shulke, including the truth about the right paper for blending, Copic marker nibs, blending myths, Copic color combinations and more!

Welcome back to our second day of MFT's May Release Countdown . . . Be sure to head over to the MFT Blog to see today’s full stamp set and die reveals! Today the design team is featuring one of my favorite new MFT stamp lines, Birdie Brown, in her new stamp set, Let's Hang Out: She reminds me SO much of my oldest tomboy daughter, so I wanted to create a Father's Day card for her to give her Daddy! I kept the colors of the card masculine, using blues and greens. I have a Copic tutorial for you, on how I colored Birdie (click on photos for larger views): 1. Stamp girl with Black Licorice Hybrid Ink onto Copic X-Press It Blending Card die cut with coordinating Let's Hang Out Die-namics. Color the overalls in a base coat of B32, then add medium shading with B34. Leave fold marks in overall legs white (uncolored) or create the creases by using Copic Colorless Blender marker to push away color from those areas. 2. Blend the shading (B34) into the B32 base coat, using lightest B32. Add deeper shading to pockets and far edges with darkest B37. 3. Place Copic...

Hello from Italy again, copic-lovers! Franz here with all of you to share another copic creation. I love Mo's images very much, i think they are just adorable and funny, so i went with one of them this time and i chosen this lovely girl blowing dandelion clock. ♥ I used my favourite colour combo again on her hair trying to get separated the single strands. Her t-shirt is white, but i added some shadows with my cool greys: C0-C1 and C3 to give it more dimensionality. Papers are from My Mind's Eye and Maya Design, sentiments from Stempelglede, love them so much! I added a little Magnolia Tea Tag and i printed on it only the word "Dreams" from a Stempelglede rubber stamp: This is my card recipe: Image Mo Manning - “Make a wish” Papers: Maja Design and Maja Design Patterned Papers Kraft Bazzill cardstock Materials: Lace Ribbon Cheesecloth Wild Orchid Crafts Flowers Make it Crafty perfect colouring paper Versafine Ink Pad “Vintage Sepia” Tools and Dies: Sizzix Big Shot Seewing Machine Magnolia "So wrapped lovely" die Magnolia "Tea Label Tags" die Copics: Skin: E0000-E000-E00-E11-E21 + R000-R00-R20 for cheecks Hair: E21-E25-E29-E49 T-Shirt: C0-C1-C3 Skirt, Heart Decoration and shoes: R00-R20-R17-R27-R29 That’s all from me today! Thanks for stopping by :) Franz♥

So you want to get into Copic art markers? Well, this beginner’s guide is a great place to start! You’ve probably drawn with Crayola markers before but

What's the secret to blending Copic Markers? Does paper matter? Find out these answers and other Copic Marker secrets that self-taught colorers never hear in this guest article from Amy Shulke, including the truth about the right paper for blending, Copic marker nibs, blending myths, Copic color combinations and more!

Alcohol markers give you colors that really pop off and catch attention! Reap all their benefits by knowing the do's and don'ts when using alcohol markers.

Animal friends are gathered together all in one stamp – so I don’t have to mask them to put them all in a group, yay! I love stamps like this, so I couldn’t resist. I decided to a…

I have been working on this for some time. I am a visual person and I have accumulated lists and lists of Copic blending families from my favorite guru's but, never could visualize them. One day I was in my LSS... Be Creative in Pitt Meadows, B.C. and Lisa Strahl had hers there. I thought what a wonderful idea! So...I began. I started with 4-1/4 by 5-1/2 but the pages were going to be too small and the book would be too thick so I started over and went with half-sheets. I decided to use my stock of Gina K Pure Luxury as: 1) I was not a fan of the paper (I know people rave about it but, I have way too much trouble blending on it) and 2) It was nice and thick with no bleed-through to the other side....perfect for my book. I got all the paper cut to size, my binding coil at hand, my Cinch ready to bind and I picked up a sheet of heavy-duty acetate/mylar stuff...cut it in half and it was perfect for the front and back protective covers. I started at the internet with digital clip art. I could have stamped it all but, I am such a newbie at stamping and there were so many images to do....I decided to go with digital instead. I searched until I found the images I wanted to represent my swatches....blank faces, hair, flowers, leaves, etc. I created my templates and printed off all my pages.....sat down one night with my Copics and colored the pages in. I split each section by color and representation. I was not concerned with the actual representation of....say a leaf or a barrel but, with the laying down of my color blending families. I am really, really happy with it. I can sit down now...open the book...look for a color family I want...see the main color, the highlight and the shadow....grab my markers and color. No more guessing! Have a wonderful day!

Hello Crafty friends! I’m back with a new coloring I’ve made with the new MFT stamps Release! The new release is packed with amazing products…and there’s something for everyone! Stamps, Dies and ev…

A lot of colorists say that Copic markers are the best markers that money can buy. Then you realize just how much money they're talking about! It makes you wonder if you really need them. There are a lot of cheaper Copic marker alternatives available, so what's the secret? Why are Copic markers so expensive? Copic markers cost a pretty penny - are they really worth the price? The first thing you have to understand is that these aren't your average markers. They are top-of-the-line art markers used by professional artists and designers around the world. Copics are top-quality tools

I have a different post to share today. I’ve recently been spending time on colour swatching my supplies and wanted to share my copic combo swatch book. Copic markers are my favourite colouri…

What are Copic markers and why are they so expensive? This Copic beginner's guide will teach you the basics of getting started with these popular alcohol markers. Learn the types of Copic markers available, how to decode the Copic Color System and how to choose the right paper for your coloring.

Hello there! Welcome to my post today with my no line coloring technique! Video My little card is actually *gasp* a “Look ma, no Copics!” card!! I’ve been thinking about coloring …

Oggi la seconda parte dell'argomento acqua. In realtà ci sarebbero un sacco di cose da dire su come rendere le superfici bagnate, le pozzanghere, i liquidi nei bicchieri e nei contenitori, i liquidi nei contenitori... Ma sarebbe diventato un argomento a tantissime puntate, per cui ho deciso di inserire in queste due parti le cose che mi sembravano più utili e importanti. Magari in futuro farò approfondimenti sui singoli argomenti! L'altra volta ho spiegato come rendere il mare disegnato, visto dall'esterno, come paesaggio, in sostanza. Ma come si trasformano le ondine sulla superficie se ci avviciniamo fino a guardare ai nostri piedi? L'angolazione da cui le vediamo cambia completamente e così anche il modo di dare luci e ombre. Inoltre, un corpo immerso nell'acqua riceve della luce riflessa del sole, per questo ci si abbronza anche quando si sta in acqua. Il modo di rendere questa illuminazione cambia da sotto a sopra la superficie, per cui nel tutorial di oggi spiegherò questi effetti. Ovviamente STILIZZATI. Che rimane sempre la parola chiave del manga. Quindi andiamo a vedere come in realtà le ondine fatte con le singole pennellate la volta scorsa, siano in realtà forme più grandi, una sorta di ovali informi, che noi vediamo schiacciati, da lontano. Questo disegno direi che rende bene l'idea. Per inchiostrare la parte immersa e quella emersa, ho usato due multiliner diversi, uno nero (0.05, la mia misura preferita) e uno Cobalt (0,3. Sarebbe stato meglio avere la stessa misura ma quelli colorati di solito sono grossini così, quindi ho cercato di ripassare sottile) per far capire che un oggetto è immerso ci sono molti modi di inchiostrarlo. per esempio, tenere come colore della lineart un tono simile a quello del liquido in cui è immerso (come in questo caso, blu), usare un colore grigio, o sbiadito, usare il colore dell'oggetto immerso invece del nero, non usarlo affatto (come le ginocchia nella primissima immagine di questo post) oppure inchiostrarlo tremolante, o con delle piccole increspature in senso orizzontale, per simulare la sensazione di distorsione della vista attraverso il liquido! per prima cosa, segno le ombre degli oggetti, in questo caso i piedi e soprattutto i pesciolini, così daranno l'idea di stare fluttuando, quindi nuotando sospesi nell'acqua. Per ombreggiare uso BG05, e dò piccole pennellate della stessa forma dei pesciolini a poca distanza dagli stessi. Più le ombre saranno lontane dai pesci, più significherà che questi sono lontani dal suolo, quindi si possono anche fare ad altezze diverse La scala che uso è la stessa dello scorso tutorial, cioè B00, B02 e BG05 e BG07 perchè mi piace quella punta di verde che fa sembrare tutto più turchese. Dato che l'acqua non è molto alta e il suolo ha un colore chiaro, uso BG05 perchè sarà il colore più scuro da usare in questa zona, dovrò rimanere tutto molto chiaro èper scurire man mano che l'acqua si allontana verso l'orizzonte ho aggiunto un pò di sfondo, in questo caso un pò di E50/E51, ma può essere il colore che volete, se per esempio il fondo fosse sassoso sarebbe utile una gamma di C. lo sapete che il mare è blu perchè riflette il colore del cielo, in realtà? Ecco perchè allontanandosi il colore diventerà più intenso, mentre ai nostri piedi sarà quasi trasparente, lasciando intravvedere i colori del fondo, ed ecco perchè ho inchiostrato le parti immerse di un colore più chiaro! Ora passo con B00 a dare la base... ci sono due modi in cui potete farlo: la prima è quella di calcolare già a mente dove andranno i riflessi bianchi dei bordi degli ovali, cosa molto difficile che mette in crisi anche me, oppure dare prima la base intera e poi tornare a riflessare col bianco, come l'opaque white della Copic o la penna acrilica bianca Molotow. Per questo tutorial procedo con la versione più semplice. In seguito, con B02 comincio a passare la forma degli ovali deformi, perchè come si vede nello schemino dei livelli qui sopra, le parti luminose, per risaltare, hanno bisogno di un pò di scuro intorno. Non è un vero concetto di luce e ombra quanto più un gioco di contrasti per far risaltare di più le varie parti! Intorno alla gambe mi assicuro di stringere gli ovali fino a farli diventare delle falci, che delineano la forma cilindrica delle gambe immerse.fatto questo, che sembra spaventosamente brutto, torno con B00, o anche con l'aiuto di B01, per chi non si sente sicuro a sfumare tutto. (assicuratevi quindi di avere una carta adatta alla quantità d'inchiostro) Questa è la parte che vediamo dall'alto, una volta sfumata per benino! Già così fa un bell'effetto... Comincio a pensare alla prospettiva, devo passare da questo A questo in maniera graduale. Per cui come la volta scorsa comincio a preparare una base che sfuma verso il colore più scuro, passando in successione B02 e BG05 E poi proseguo, sempre come nello scorso tutorial, a definire gli ovali con un gradino di colore più scuro della base, solo che stavolta devo assottigliarli sempre di più fino a trasformarli in ondine! E per finire, il bianco! Si vanno a delineare con un pennarellino acrilico a punta fine o con l'opaque white copic col pennellino finissimo, per tracciare i riflessi luminosi Quando avremo in questo modo definito le zone luminose, come abbiamo fatto all'inizio coi pesci, possiamo andare a tracciare la loro ombra a terra, anche approssimativa, in questo caso con B02. Un vero tocco di classe. E così abbiamo finito la parte dell'acqua! Ma! per completare l'illustrazione bisogna colorare le parti immerse, aggiungendo un tocco di E50 nelle parti sott'aqcqua. Non c'è bisogno di passarlo ovunque, basta che stia nelle zone chiare tra un riflesso e l'altro. per quanto riguarda invece gli oggetti immersi, prendiamo come cavia la mia piccola Vileda. Che già non è contenta di avere un nome che indica il suo stato d'animo, figuriamoci quando decido di bruciarla come un gambero per far vedere bene le sue gambette bianche in acqua! per prima cosa, con B00 e G00 sfumo la base. Ho deciso di tenere G00 sopra perchè contiene una puntina di giallo e mi fa pensare che sia più luminoso, che riceva quindi la luce solare. Con B12, sfumo un pò le estremità, in basso e in alto, , mischiandole con la base (quindi in alto blendo con G00 ein basso con B00) poi uso il trucchetto degli ovali, ma senza conferire profondità, dato che in questo caso la zona che sto colorando è una sezione di acqua marina, e non vedo la superfice che si allontana. Purtroppo per stanchezza mi sono scordata di fotografare un passaggio: non era indispensabile, ma almeno vi spiego perchè gli ovali sembrano sovrapporsi in certi punti: in pratica ho disegnato degli ovali su tutta la base, poi ho passato di nuovo B00 e G00 per schiarire un pò, e dopo aver fatto asciugare, ho fatto un'altro giro di ovali, ignorando le forme di quelli sotto, così che andassero a sovrapporsi casualmente, una specie di doppio livello. Verso il fondo vado a scurire gli ovali con un pò di V12 per scaldare il colore e creare una cangianza, ma dato che stacca troppo dal B12 di base lo mescolo blendando con un pò di B32, le gambette ora spiccano un sacco, sono belle rosee perchè il colore dell'acqua verso il fondo vira al V12, quindi ho preferito un tono caldo rispetto ad una pelle giallina che sarebbe sembrata verde. Col viola non mi sembrava un gran accostamento. Insomma, per farle diventare parte integrante del contesto faccio in modo che la luce si proietti sulla pelle attraverso la diversa angolazione della superficie increspata, dando origine ad un motivo a ovali deformati come prima. Tonalizzo le gambe con una base sfumata che parte dal basso con BV00, poi B12 e B00, fino a lasciare un pochino di carne rosea proprio sotto il pelo dell'acqua.(la colonnina di destra dell'immagine qui sopra) e poi faccio gli ovali secondo lo schema della colonna di sisnistra, V12, in basso, B32 a salire, B01 fino alla cima. (nel frattempo ho fatto anche un piccolo fondale, niente più che tre strati piatti di colori a scalare, in questo caso uno piccolino con B95, uno medio che sporge un pò con B23, e uno quasi evanescente con BV00) In questo modo sembrano davvero immerse nell'acqua. Per finire, una parte dei raggi di luce che batte sulle ombre, di solito rimbalza verso l'alto. Per evidenziarle meglio, in alcuni punti della pelle ho aggiunto una piccola sfumatura azzurrina, solo nelle parti del corpo rivolte verso il basso e solo in quelle più vicine all'acqua (quindi niente sul viso) e poi ho tracciato con la penna molotow delle ondine sottili, sempre seguendo la forma degli ovali. e per finire... L'acqua luccica. Quindi un sacco di puntini bianchi stanno bene! Ma solo in cima, non sotto il pelo dell'acqua, perchè sotto la luce bianca e brillante non arriva, al massimo qualche fascio evanescente. questo disegno mi è stato commissionato e i personaggi appartengono alle committenti Decisamente d'effetto! Sperando che vi sia stato utile, saluto tutti e alla prossima! Alice

I think I'm on a green fling this week. Fitting, since St. Patrick's day is coming up. I wanted to talk real quick about leaves so that I can move on to the second part which is much more exciting. Basic Leaves and shadows As I mentioned yesterday, there are many shades of green and each has a different feel. As Spring gets closer new leaves bud from dry branches and blossoms appear. Growing up I had a giant Lilac bush outside my bedroom window. I love how it grew beautiful lilacs and perfect little leaves each spring. Today I want to color just the leaves of the lilac bush and then we can move on to a whole branch. New Spring leaves are young and warm, so for these lilac leaves I am choosing a base color of YG03. I color the whole area of both leaves to give the bright warm green tone that will set the mood and feel for the entire picture. Since the top leaf is relatively flat it will not have much color variation from the sunlight. However, I lightened up the edges slightly with a colorless blender just to give it a little visual interest. I think I also added some tiny hints of YG06 but I forgot to write it in. If the bottom leaf were totally flat like the top leaf it would be an overall brighter green just like the one above it. However, because the bottom leaf is sitting at an angle from the sunlight it will be more shaded and look less intense. Also, we see the curled edge revealing the underside. From the angle of the sun we know the underside will be in shadow. I am adding a hint of G21 to all of the bottom leaf except for the outer edge, because that area will catch full sunlight. By using a lighter but duller color (G21 is a 1, vs. the YG03 which is darker) it keeps the color darkness and family of the YG03, but it adds subtle grayness hinting that later this leaf will be in deeper shadow. The two leaves still look natural together. If I were to have colored the bottom leaf all G21 without the YG03 base coat then it would look VERY strange next to the top leaf (try it yourself and you'll see what I mean). Be aware that the order in which you lay colors is just as important as which colors you used. Slowly I darken the shadow areas. First, I go for easy shadows. I know that the underside of the bottom leaf will be in shade, so I add G28. I didn't have a G24 at home when I colored this or else I would have used that as middle step. Without the G24 I had to blend using the blending on a palette technique so that my pale G21 faded into the much darker G28 smoothly (in this case I just pulled the caked G28 off the inside of the cap with my lighter G21). By using lots of lighter layers that gradually darken it is much easier to get a smooth blend. Also, by starting with both leaves colored with YG03 they look like they are from the same plant, just with different shading. Last, I add the darkest contrast and the shadow that the top leaf is casting on the leaf below. Again, I use G28 for my deepest shadows. I have to imagine the triangle of the top leaf and how it blocks the light on the bottom leaf. Although the top leaf has a straight edge I need to remember that the bottom leaf curves, so the straight shadow edge from above ends up following the curve of the bottom leaf. When working on a shape like this leaf which has distinct direction (the veins) add your darker color in strokes that follow the direction of the veins. That way if you make a streaky mistake it will not be as noticeable. I drew these leaves with a 0.1 mm multiliner onto color laser copier paper then made copies to practice coloring on. These leaves are a smaller study of a larger artwork. Many times I'll work out one element from a larger picture just to get an idea of color, technique, and lighting before I commit to a full illustration. By working on the thin copier paper it takes much less ink to evenly saturate, and the paper is nice and vibrant.

What's the secret to blending Copic Markers? Does paper matter? Find out these answers and other Copic Marker secrets that self-taught colorers never hear in this guest article from Amy Shulke, including the truth about the right paper for blending, Copic marker nibs, blending myths, Copic color combinations and more!

A few weeks ago (in one of my videos) I mentioned I don't have a lot of colors of Copic markers and I usually stick to the same color combos for reds, greens, yellows and so on when I do my coloring. A few of you asked me to share my combos and while at

Secret Knowledge? Hidden steps to coloring? Are there quiet things that bloggers and instructors do with their Copic Markers and colored pencils which they never show or discuss? You bet'cha! Today, I'm going to spill the beans and tell the tales. Because your coloring projects will run smoothe

Hallo bloglezers, ik wil jullie graag opmerkzaam maken op het Colourstockblog. Op dit blog vind je heel veel informatie aan over bijna alle producten die door Colourstock o.a. de distributeur van Copics en PanPastels worden verdeeld. Je treft er een tabblad aan waar het woord Copic-kleurboekje op staat. Daaronder staan heel veel kleurblaadjes, die je kunt inkleuren met je Copics. Je vindt er kleurvellen voor gezichten, haren, bladeren, metaal en nog veel meer. De te gebruiken kleuren staan al op de blaadjes vermeld. Je maakt je eigen boekje waaruit je de mooiste kleurcombinaties kunt halen. Ga er eens naar toe en haal zelf deze blaadjes op. Wordt meteen volger, dan loot je mee voor een prachtprijs: 6 Sketch markers naar keuze. ************ Ik ben er gisteren aan begonnen. Hieronder zie enkele blaadjes die ik al klaar heb. Gezichtjes (4 vellen) Haren (14 vellen) Bladeren ( 4 vellen) Dit is echt heel handig, als je een afbeelding wilt kleuren, neem je dit boekje erbij om te zien welke kleuren je zou kunnen gebruiken. Misschien een leuk werkje de komende kerstdagen, als er je wat rustige uurtjes voor jezelf hebt. Groet Diny

I’m often asked what my favorite blending groups are – and today I’ll be sharing that with you as well as coloring up a fun little camping card! EDITED 2020: The stamps are no lon…

Here’re some examples of skin and hair coloring I made during the week-end.

Learn how to colour reflective Christmas ornaments using Copic Markers. Post features a Stamping Bella rubber stamp & includes step by step colouring guide.

Challenges, WPlus9, Fresh Cut Florals, Thank You Card, Holiday Card

I recently took an online class called Copics for Cardmakers taught by Jennifer McGuire, Kristina Werner and Sandy Allnock. In that class, they provided di ...

This week's Tuesday Tutorial is hosted by JustRite design team member, Sharon Harnist, who is also on the Copic design team and is a Regional Copic Certification Instructor! In this tutorial, Sharon will show you how she colored the Hydrangeas from our Plant A Little Love stamp set with Copic markers on this card (the card and full details were originally posted here): Let's get started! (Click on any photo, to view it larger): (Above left photo): First, give the entire flower a base coat of your lightest color, BV31 -- this will "prime" your paper and help all the...

More about Copic coloring - Read more from the {creative chick} | shurkus.com blog & more ideas from our "tutorial" section.

Copic markers are unique drawing instruments since they include strong alcohol-based ink able to provide amazing colors and make every artwork eye-catching. This is obvious that these mediums should be used with special paper that will complement their true function. Selecting the right paper type on your own is boring and time-consuming, but… WoWPencils is here again! This post reviews the best paper for Copic markers and gives recommendations on how to tell good paper from low-quality item. Read on and select the right product for you. Good Paper to Use with Copic Markers: Rated List X-Press It Blending Card The number one product in the list is high-quality cardstock paper from X-Press It. The pack contains 125 white sheets of 8.5’’ x 11’’, which have an extremely smooth and silky surface. It features a high weight, but any standard printer can easily handle it. It is great to be used with markers and shows minimal leak-through even with alcohol-based mediums. The marker ink blends beautifully, and its colors stay bright on the paper. The cardstock is ideal for card making and stamping. It is archival and acid-free. Actually, this is one of the bestselling types of paper available for Copic markers. It is suitable for both professional artists and newbies. Bianyo Marker Pad This marker pad is manufactured by Bianyo. It includes 50 A4 (8’’ x 12’’) white sheets. The paper is thin, lightweight and shows no bleedthrough. You can try it with any type of markers – not a single spot underneath. Since it is very waxy, smooth and absorbs less ink, this extends the lifetime of your markers. The mediums show bright colors when both wet and dry. Crescent RENDR® No Show Thru Sketchbook This hardbound sketchbook from Crescent includes 48 sheets of heavyweight paper, which is bleedproof and suitable for various art mediums. Thanks to its No-Show Thru technology, both sides of the pages can be utilized. The acid-free paper is white and has a greyish tint. The sketchbook has a black cover, which is soft to touch and looks classic. It features a Smyth-sewn binding that allows leaving the sketchbook wide open. Strathmore 300 Series Bristol Smooth Pad This pad from Strathmore includes 20 white sheets of Bristol paper, which is famous for its heavy weight. It is very smooth and suitable for finished artworks made in pen and ink. The pad is tape-bound and its dimensions are 9’’ x 12’’. This softcover edition is portrait-oriented. Strathmore 500 Series Mixed Media Art Journal This Strathmore art journal is perfect for drawings, sketches, and paintings. It can easily be used with mixed mediums since it causes no ink running or smudging. The journal includes 32 sheets of white archival paper that has a vellum finish. The marker ink doesn’t leak through this heavyweight paper, and the colors look saturated. The dimensions of the journal are 8.5’’ x 11’’. It has a black hardcover, which is very solid. A flat and sturdy surface is an ideal variant if you want to draw in your lap. The pad looks very elegant, so you can even feel the value of its quality. Canson Pro Layout Marker Pad This marker pad inspired by Canson contains 50 sheets of lightweight paper. It is white and almost translucent. This kind of paper is good for design or drawing, but it can easily handle pens and markers. The pages have an average show-through, but they don’t bleed. The paper is best used on the front page because it is smooth, while the flip side is rougher. The pad is 9’’ x 12’’ and has a softcover design. The pages are flexible and can run through a printer. Bee Paper™ Artist Maker This marker pad designed by Bee Paper is an excellent option to withstand wet mediums. It includes 30 8.5’’ x 11’’ sheets of bleedproof paper that can hold up several layers of ink. Its surface features the smoothest grain, but it is not glossy. It is heavyweight and feels like cardstock. It makes blending a dream, especially with markers. This extensive smoothness prevents a bleedthrough and allows the users to re-work. The pad comes in a soft cover and has pre-cut lines to make tearing easier. Winsor & Newton Pigment Marker Paper Pad This 11’’ x 14’’ marker pad from Winsor & Newton includes 50 sheets of white lightweight paper. It is rather thin but designed with a special technique. Each sheet is coated with a protective layer, which allows it to dry slower and absorb less ink. Thanks to this characteristic, the users have more control over ink and can mix colors. The pad has a very soft cover, and all the pages are landscape-oriented. Copic Marker Transotype® Pad This type of paper has been specially developed for Copics. It is very thin but has a bleed-resistant cover. It prevents the marker ink from leaking on the back side of the page. You may also notice that the ink stays wet on the surface longer. This allows you to blend and mix colors. Due to a silky paper texture, the ink remains very bright after drying. The 8’’ x 12’’ pad includes 50 sheets and features a soft cover. The pages are landscape-oriented. Bienfang Graphics 360 Paper Pad This 9’’ x 12’’ marker pad includes 50 sheets of white paper. It is very thin and lightweight, but it doesn’t leak through. Its surface is slightly textured and holds ink well. The pages are semi-transparent and can also be used for tracing. The pad is glue-bound and has a soft cover. Guide Your drawing techniques and styles are of paramount importance in choosing the right paper for Copics. Since different types of paper require different handling, keep in mind the following factors when you are planning to buy your next pad/sketchbook: Now, you know what points are important to look at when buying paper for Copic markers. Test various types of paper from multiple manufacturers and find the product that suits the best. FAQ The artworks done with Copic markers will look irresistible if you pair them with the right surface for drawing. In order not to waste ink in your markers and get amazing coloring results, here is some additional information grouped below in the form of questions. Why Should I Use Thick Paper ? for Copic Markers? Copic markers contain ink that is prone to bleeding, so a regular type of paper is not suitable to be used with them. The moral is that you should buy heavier and thicker paper to achieve better results. Thick and textured surfaces provide a smooth and seamless application. Is Watercolor Paper Good for Copics? Watercolor paper is specially designed to be used with liquids ?, so its absorption characteristics are very high. Used with Copics, it soaks ink quickly, making it harder to blend, and the ink doesn’t stay on the surface. If you do use this paper, try to draw fast and blend immediately while the ink has not dried. Is Mixed Media Paper Good for Copic Markers? The name of this paper suggests that it works with a variety of drawing ? and coloring tools. It can be used with Copics as an alternative, but this variant is not the best since acrylics and oil include chemical components that differ from markers’. If you don’t want to be frustrated by the results, or if your finished product is very important, choose special paper for your markers. Is Cardstock Paper Good for Copic Markers? You can draw on cardstock with Copic markers if it features a smooth surface, tight fibers and shows good blending abilities. Test it before buying a big pack: good paper will show no feathering. Remember that some cardstocks have a special clay coating that may leave residue on your marker tip. Avoid this type of coated paper. Do Copic Markers ? Work with Print Paper? Print paper can also be used with Copics. It is smooth, so your markers will glide on the surface. Choose thicker copy paper to prevent leaking through the pages. Each paper brand differs in terms of blending and mixing colors and requires preliminary testing. Interesting Facts Here are a few unknown facts that WoWPencils has found out about marker paper and wants to share with you: Share other interesting facts about Copic markers and the paper you are using with them. In Closing If you are making use of Copic markers, you should know that these excellent (and rather expensive) art instruments require appropriate paper. Each kind of paper available on the market is designed for a specific purpose, and not all of these types are marker-friendly. This can be disappointing to work on the wrong type of surface and get an outcome that is not desirable. The paper brands described in this post will ensure the durability of your works and help implement your creative thoughts. Express yourself through perfectly rendered colors! References

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What's the secret to blending Copic Markers? Does paper matter? Find out these answers and other Copic Marker secrets that self-taught colorers never hear in this guest article from Amy Shulke, including the truth about the right paper for blending, Copic marker nibs, blending myths, Copic color combinations and more!