When I first wrote this article, it marked three decades of working with coloured pencils. Time has moved on, and I now look back on over forty years with the medium. Four decades of practice have given me the chance to test countless tools, papers, and techniques, and to refine my approach through both successes and mistakes. This update brings those extra years of experience into focus, sharing what has endured, what has changed, and the lessons I would pass on to anyone serious about coloured pencil art.

​Alongside my own practice, I also run Step by Step Art, a website created for artists looking for practical help and advice. While it leans strongly towards coloured pencils, it also offers articles covering graphite pencils, soft pastels, oil pastels and acrylics. It’s designed as a resource for anyone wanting to explore different mediums with clear, approachable guidance.

​As I look ahead, I’m excited to continue exploring new materials and sharing what I learn, both here and through Step by Step Art, while remembering that the most valuable lessons are often the simplest ones: to slow down, to observe closely, and to enjoy the process.

Coloured pencils have been my constant companion for more than forty years. The tools have evolved, the papers have diversified, and my own methods have matured, but the fundamentals remain the same: patience, experimentation, and respect for the medium. Every drawing is still a challenge and a joy, and that is what keeps me returning to the pencils day after day.

​I dedicate a significant portion of my time to creating custom made portraits for clients both in the UK and internationally, in addition to running my Step by Step Art website that focus on a range of mediums such as pastels, paints and graphite pencils, as well as coloured pencils.

For my coloured pencil artwork, I consistently use heavyweight, acid-free, and archival paper. A weight of around 300gsm is ideal as it accommodates multiple layers and guarantees durability. Initially, I exclusively utilised tonal papers, particularly the grey and tan tones, because they provide a neutral starting point that enhances both highlights and shadows. Black paper is also a favourite, as it contributes to an atmospheric finish and necessitates fewer layers for a significant effect. For larger works, I opt for a robust heavyweight paper like Colourfix, which is more widely used by pastel artists.

This Snow Leopard was created on black Colourfix paper, known for its texture and typically reserved for pastel works. For this drawing, I used a variety of coloured pencils from ranges such as Karismacolor, Derwent Coloursoft, and Caran d'Ache Luminance.

I find Colourfix paper to be a fascinating medium for coloured pencils. While the texture of the paper limits the number of layers I can apply compared to standard cotton papers, a few layers are enough to attain a comparable level of realism. It was delightful to work on this piece, and although its larger dimensions of 20" x 30" exceed my usual scope, I enjoyed the challenge.

Coarse paper may cause pencils to wear down more rapidly, especially those with softer cores like Prismacolor. However, its textured surface holds pigment well, reducing the need for multiple layers to achieve similar levels of detail. Moreover, it allows for the incorporation of mixed media, like acrylics. Adapting to different paper textures can be a challenge if you're accustomed to smooth surfaces. I would recommend that you experiment with the paper before committing your artwork to it.

Previously, I owned a vast collection of coloured pencils, many of them lacked the quality of todays brands and currently use just two brands: Caran d'Ache Luminance and Derwent Coloursoft.  The Luminance pencils exhibit a slightly firm texture, making them well-suited for intricate details. In contrast, the Derwent Coloursoft pencils feature softer cores, making them ideal for creating soft backgrounds and layered tones. 

TIP: Before investing in a new range of pencils, I always test the black and white ones first. This allows me to assess their opacity, application, and how they compare against other favoured brands. If they meet my standards, I'll either purchase individual pencils from open stock, choosing colours I frequently use, or opt for a starter set. The white pencil holds significant importance in my artwork as it must provide the luminosity needed for catchlights and highlights. Additionally, it serves as a tool to lighten other colours, thereby expanding the range of my colour palette.

The concluding section of this article provides a brief overview of how I crafted this Snow Leopard's eye using coloured pencils on black Art Spectrum Colourfix paper. I maintain a specialised website featuring this tutorial, among others, covering various subjects and mediums for artists to explore. To access the page and attempt the tutorial, click on the image above.

I'd love to hear about your own individual insights and approaches to work. In the comments section, please share your own preferred products that contribute to your most successful outcomes.

For an artist, there is always a high level of excitement that comes with unwrapping a package filled with freshly acquired art supplies. However, the opportunity to receive a package containing coloured pencils from a discontinued line dating back to 2005 dwindles with each passing year, making it increasingly unlikely to acquire such coveted items.

Fortunately, auction sites like eBay occasionally list Berol Karismacolor pencils, and I was extremely fortunate to discover a couple of sellers who are currently selling off stock from a craft supply clearance, allowing me to acquire some brand new stock. It was quite a surprise to discover some of the rarer colours in the collection as well. Pencils, both coded and non-coded, plus some discontinued colours can be found through these sellers. Links can be found in the article link at the bottom of this page. 

​Karismacolor pencils were the European counterpart to the widely favoured Prismacolor Premier pencils. The original Prismacolor pencils debuted in 1938, while Karismacolor emerged in the late 1980s in England. In 1995, ownership of the company transferred and production shifted to the USA. The emergence of new European pencil brands likely contributed to the dwindling sales of Karismacolor pencils, and coupled with elevated shipping costs, led to their discontinuation in 2005.​

The Karismacolor pencils were originally offered in 72 colours, with each pencil prominently showcasing the designated colour name on the barrel.  Over time, the colour palette expanded, and colour codes were introduced to align with the Prismacolor range. Throughout the production period, a total of 129 colours were created, but due to discontinuations, the largest available set consisted of 108 colours. 

​Should you wish to acquire ​some of these pencils, the links that direct to the sellers of the Karismacolor pencils can be found below.
I have written a comprehensive article about these pencils, which can be accessed on my Step by Step Art website by clicking this link. 

​Please be aware that I am not affiliated with these sellers. I am aware of the challenges in finding these pencils, and having had a positive buying experience myself, I wanted to pass on this information to others.

If you have fond memories of the Berol Karismacolor pencils, please leave me a comment below. I would love to hear from you!