97 orchestra coloring page

orchestra coloring page

Mar 17, 2021 · Orchestra Coloring Pages By Best Coloring Pages March 17th 2021 When you see a number of people playing string, woodwind, brass, and percussion instruments together, it is called an orchestra. A symphony orchestra is large and a chamber orchestra … 0

Apr 22, 2015 · Orchestra Coloring Pages Because mini-coloring books are the standard favorite around the Hill House, this set of orchestra coloring pages are also in the half-page style. In this 32-page set of Orchestra mini-coloring pages, you’ll find the following words and pictures: → ‘The Orchestra!’ cover page … 1

Orchestra Coloring Page at GetColorings.com | Free printable colorings 2

instruments of the orchestra colouring page | Strumenti musicali 3

Orchestra Coloring Page at GetColorings.com | Free printable colorings 4

Instruments of the Orchestra Coloring Pages - 30 Instruments Designs by HardPlayed Music Room N/A not yet rated $5.00 $3.00 PDF Introducing the Instruments of the Orchestra Coloring Pages! These fun and educational pages feature 30 different instruments from the orchestra… 5

Orchestra Sheet Coloring Pages 6

Orchestra Coloring Pages Coloring Pages 7

Orchestra Coloring Page at GetColorings.com | Free printable colorings 8

Orchestra Coloring Page at GetColorings.com | Free printable colorings 9

Pingalee and Friends Orchestra - Coloring Game - Printable Coloring 10

Orchestra Coloring Page at GetColorings.com | Free printable colorings 11

Orchestra Coloring Page at GetColorings.com | Free printable colorings 12

Orchestra Coloring Page at GetColorings.com | Free printable colorings 13

Orchestra Coloring Page at GetColorings.com | Free printable colorings 14

Orchestra Coloring Page at GetColorings.com | Free printable colorings 15

Orchestra Coloring Page at GetColorings.com | Free printable colorings 16

Orchestra Coloring Pages - Mamas Learning Corner 17

Orchestra Coloring Pages - Mamas Learning Corner 18

Orchestra Sheet Coloring Pages 19

Orchestra Coloring Page at GetColorings.com | Free printable colorings 20

Orchestra Percussion Instruments Page Coloring Pages 21

Orchestra Coloring Pages - Mamas Learning Corner 22

Sections Of The Orchestra 23

orchestra printable to color | Orchestra_layout_example.jpg I would use 24

Orchestra Coloring Page at GetColorings.com | Free printable colorings 25

Orchestra Coloring Page at GetColorings.com | Free printable colorings 26

Orchestra Seating Colouring Pages Sketch Coloring Page 27

Orchestra Coloring Page at GetColorings.com | Free printable colorings 28

Orchestra Coloring Page at GetColorings.com | Free printable colorings 29

Orchestra Coloring Page at GetColorings.com | Free printable colorings 30

Orchestra Seating Colouring Pages Sketch Coloring Page 31

Treasure Chest Coloring Page at GetColorings.com | Free printable 32

Instrument Family Coloring Sheets -12 pages | Music Class - Instruments 33

15 Orchestra Coloring Pages - Printable Coloring Pages 34

score marking is a very personal journey, for a conductor, it's almost like looking at a diary of, learning the work, with the layers of notes and notations, it's usually, the first step to learning a score, usually your first, taste of the work there are as many, different ways to mark a score as there, are conductors, and the techniques are usually passed, down from conductor, to conductor via personal instruction, my name is dr dominique royam and i'm a, music director conductor, and music communicator here to help you, achieve a deeper connection to the music, you love, follow me on social media at, dominicrorium for more content, let's talk about score marking, [Music], so let's take a tour of a score without, markings say beethoven symphony number, one this is the baron writer urtext, edition, and we open it up to the first page and, there's a lot to learn here, on the first page you can tell the title, of the symphony, is big and bold right there you have the, key of the symphony and the opus number, sometimes symphonies don't have opus, numbers so they won't have that, and then the dedication on top or it, could be under the name, depending then you have the composer, over here on the right hand side, um and then you see a lot, of music each one of these five, line staves is a different instrument, and so you have something called score, order, and all scores are in this order the, woodwinds are at top, here the brass is in the middle, the timpani and the percussion is under, the brass, and then the strings are on the bottom, so if you take a look at the things in, here you can see they're bracketed off, by type of section and, the bar lines are barred with vertical, lines, through the sections so the bar line, goes all the way through the string, section, so that way you can see the string, section as one section, at a glance the same with, the horns here and the woodwinds, first thing that you read on a page like, this, is the tempo marking up here and here, above the strings, adagio multiple means very slowly, molten is very in italian adagio is slow, there is no metronome marking here, because beethoven lived before a, metronome, was really stable and, operable classical composers and, romantic composers didn't have metronome, markings because they either lived, before the metronome, or before the metronome really became, something that, a musician lived and died by if we take, another, score here uh francis poulence gloria, and open it up to the first page you can, see that he does have a metronome, marking right here, it is 60 to the quarter note, and it says myastozo so that's quarter, note equals 60., and if you go into a metronome mine's on, my phone, and you type in 60 and press play, each one of those clicks, is quarter note equals 60., when it's 60 that means the quarter note, is the same speed as a second, so it goes by just like a second hand, would, now back to the beethoven you can see, there are, letters strewn about the page each one, of these letters is a dynamic marking, that tells you how loud or soft, the music needs to be an f, means forte or loud in italian, the p means piano or soft in italian, all of these markings are in italian, because marking dynamics, and tempo markings and everything, happened during the italian renaissance, and we just, kept the tradition of using, italian markings in scores for hundreds, of years, you can also see a crescendo this little, figure right here is a crescendo, you start softly and you get louder but, you, also see it here as an abbreviation, c-r-e-s-c they mean the same thing, depending on where you or are or what, the composer, is thinking they will put either or, they're interchangeable, the other things that are written in the, score are pits, for pizzicano and then arko these are, directions for, how to play a strained instrument the, pizzicato, means to pluck the string of the, instrument, and argo means to use the bow of the, instrument, so you can see the pizzicato here is for, the first three bars, and then arco comes in for all of the, strings here, in the fourth bar the first technique, for score marking, i used was the color method taught by, elizabeth green, and popular amongst band composers, i learned it from franz kreger at the, university of houston, who was a disciple of elizabeth green, let's take a tour of an old score one, from graduate school, brahms is symphony number one the first, movement, so you can see immediately that it is, very bright in this score a lot of, things are highlighted with, different colors of highlighter you can, see the blue, here is on the edge of the music, and i do that for each page so that way, i can see or, if there are different multiple staves, on a page like this one, you would read it this way and then go, here and then move to the next page, you can see the tempo marking, is an orange this is above the woodwinds, and below the strings, instead of above the strings and then, the meter is in pink and i broke it up, depending, on the types of instruments so all the, woodwinds are together, all the brass are together and all the, strings are, together i circled some important info, on this page uh, the timpani and the contrabass because, that rhythm at the beginning of the, brahms first symphony, is very very important, to establish the meter as it goes, through, and then you can see i put numbers here, to tell me which, beat these notes change on because, they're, not on the designated, big beats of the bar they're on smaller, beats, on offbeats almost so i wanted to know, exactly, when these changed if we go to the, second page you can see i, highlighted some dynamic markings here, in red and then in blue uh and, then over here in red in a big stripe in, red, seeing that everyone was coming in, fortissimo, and here everyone's coming in piano, which is why it's blue, and then you can see i mark some, crescendi and day crescendi, here in the strings and the woodwinds, sections blue for day crescendo, red for crescendo now i didn't go, through and do, every single one of the dynamic markings, through here you can see there are some, decrescende and crescendi, that have no colors in them if i was, doing a, true color method of score marking i, would have done, all of them but i was just lazy, at this point you can tell that i've, highlighted some, important entrances that came in here, the woodwinds the strings the woodwinds, the bassoon the flute the first violin, and the flute at the same time, and then i labeled some instruments over, here so oboe, flute and cello down there, on this next page you can see that i, have a green stripe here, with the repeat sign so anything that, has to do with, repeating or going back or doing, something multiple times, is highlighted in green, you can see i did red stripes again and, then the blue, along the edge of the staves and then i, highlighted, some lines here in the strings that i, find are important on, this page again i've highlighted some, things you can see a blue line for piano, a red line for fortissimo and, those blue stave edge staves again, now there are pros and cons to this, method the pros are that it's, easy to read at a glance you look down, and you can see what's important allegro, forte, forte these instrumental entrances, you can tell without looking at the, score too heavily, what's most important it also makes you, physically touch the score in, each one of the dynamic markings, and the tempo shifts and the meter, changes, and so you physically have to touch, every part of the score when you're, looking at a score like this, the cons are it's very time consuming, as you can tell i didn't do it, completely, because i was just lazy, sometimes it makes you feel like you're, coloring in an adult coloring book, and takes away some of the gravitas from, the score itself, um and highlighting tends to obscure, some of the finer details of the, orchestration, it prevents a deeper reading of the, score due to a hard time seeing, past the highlighting like here you have, this melody in the first violins, but you don't see this interesting line, in the celli that supports that melody, in the violins nor do you see, this line in the bassoons that, doubles that line in the celli that's, very, interesting and is against the main, melody, all your eye goes to is what's, highlighted, there the main melody for the violin, so i don't use this anymore because i've, kind of, graduated past it but it's, an acceptable method of score marking, so let's look at another type of score, marking this is the leonard bernstein, slash mahler method of score preparation, of course leonard bernstein didn't do, exactly what mahler did but did, take some things from mahler and the, preparation of his scores, and brought it into his own personal, method, uh leonard bernstein used a red blue, pencil it would be red on one side and, blue on the other, designed for uh, financials so you could write blue as in, positive, and red as a negative without having to, move, pencils they used the blue red system, where the blue was, where the conductor's eye should go and, red was an editorial marking for the, orchestra librarians to put, into the parts so let's look at a mark's, score, this is the first movement of bartok's, concerto for orchestra, bernstein's scores can be found in the, new york philharmonic, leon levy digital archives where i got, this, the clefs over the music are, a copyright prevention issue so you, can't just, like screen grab all of the parts, off of the web and do it without, wrenching the piece because this is a, rental piece so if we look at this first, page, you can see he highlighted just a couple, of things because, he marked his scores very sparingly he, highlighted, this accent here in this first bar, because he wants, to make sure that the strings play that, then you see he has these three lines in, this bar, in a parenthesis this is telling him, that he wants to beat, three big beats in this bar so that's, what those three, lines meet each line is a beat that he, would conduct, on the podium going to the second page, you can see there are more lines for how, he's going to be beating, uh here in this bar he has one big line, so that means he's going to do one big, downbeat in that bar, and then the next bar the meter changes, so he has two, smaller ticks um to so to say that he, has two, smaller beats in that bar then the next, bar the meter changes again, to three eight and he has another one, stroke, telling us that he's going to conduct, one in that bar, then a couple bars later there's another, two stroke for a 2 8 bar, and then the next 3 8 bar has another, one stroke, so this is telling him how to beat these, bars, in rehearsal he also has an, accent here marked that's really, important, especially in the first violins so he, highlighted it by marking it, and he marked the phrases by these, half circles as you can see so the first, one is three bars, the second one is three bars the third, one is three bars, so that way he knows how to phrase each, one of these three bar, segments here's the third page of the, score, that we're going to take a look at and, there are lots of marks on this page, uh let's take a look at some of the, markings in regular pencil, here he has a rolantondo or r-a-l-l, circled here uh telling him to slow down, then an, ah tempo in brackets telling him to go, back to the original tempo or the first, tempo, then you have the ral back here which, tells him to slow down again and then, you have an accelerando marked in the, score but he has a squiggly line right, here so that means, we're slowing down a little bit uh, and i guess he just didn't like the, accelerando all the way through where it, was marked, he also marked in both blue and red, this roland tondo was marked in red, and then marked out in blue so he, changed his mind about this and, the blue marking is for his eye, to go directly towards that during, performance, uh you have an odd tempo marked right, here in red so that way he can see it, and he highlighted some instruments here, uh horn and then viola, and he marked the forte for viola to, make sure that they come in, forte then he marked the first violins, and the violas again, here in red he marked the violas again, because, here you have first violin second, violins violas, and on this stave you have first violins, violas, so you're missing the second violin so, it changes so, this way he doesn't mistake that for the, second violins, my personal score markings are, conglomeration of techniques i've, learned throughout my career, i took the techniques that worked the, best for me, and melded them into a personal score, marking technique, perfectly fitted to the way i read, scores, my markings fall into three categories, one, the physical aspects of the score like, phrase markings, and phrase shape instrumental entrances, and conducting meters, two notes from researching and learning, the score, like historical tidbits that influence, interpretation or that make, good program notes scoring, instrumentation, blending or other issues i noticed, during study, and three theoretical marks like the, tonality in the chord structure, i learned most of this from robert franz, the associate conductor of the houston, symphony, and the music director and conductor of, the windsor symphony orchestra in, windsor canada, i'll leave a link to his website in the, description box below, so before we get into a full score i, wanted to show you how i mark a score, on some plain paper with a marker so, that way you can see it more clearly, so instruments are labeled by, abbreviations, except when they're not not all of the, instruments are labeled by abbreviations, but the woodwinds and the brash usually, are so for flute i'd write fl, and give it a nice circle for oboe it's, ob, in a nice circle clarinet is cl, and bassoon is fg that's for, fugato or the italian term for the, bassoon, now we go to the, brass section horn is hn, trumpet is trp, trombone is tbn, and tuba is tba, that a and n difference is very, important there, now for percussion i label it with a mix, of pictures and abbreviations i got this, from my graduate student days, uh from franz kreger at the university, of houston, so timpani is a nice little picture of a, timpani and there's usually, an arrow to go with it the triangle is a, triangle, the symbol is different depending on, what kind of symbol it is, if it's crash symbols that go together, like this, it's two lines with two lines coming off, so those are the things you hold the, symbols by and you go crash, a suspended symbol is one line it's an, upside down t because you're suspending, that symbol, bass drum is bd tam tam, is two t's with one top, so they're together and tambourine, is tamb, now the strings are completely different, and this is what i really got from, robert franz from the windsor symphony, the violin 1 and violin 2 mimicking like, they are, on the staves of the orchestra score are, in a bracket if for some reason the, violins, aren't playing together and you need to, bark one instead of the other, you do half a bracket so downward for, violin one or, upward for violin two violas, a scratch mark and then, cello base is kind of like violin one, and violin two, it's a big half circle um, in them together because they usually, play together but if they're not you can, do the top of the half circle, or the bottom of the half circle, to differentiate the cello and the base, now robert franz also taught me how to, mark phrases, in a scorn it's using a division mark, because there's nothing in music that, looks like that, and so you know very specifically that, that number that you put under the, division sign, is for how many bars the phrase is long, so you would put the length of the, phrase in there like that, sub phrases aren't little additions, so you put the sub phrase plus the, second half of the subphrase, and that would go directly under the, division sign, so this would be a complete phrase, diagram, so it's an eight bar phrase with two, four bar, sub phrases now phrase direction, uh which is i was trained in determining, phrase direction, by mark and thacker is a, a triangle type thing where the apex, is the climax of the phrase, and so you would go through the music up, until the climax and then come away, so that way you can see where the energy, is going so the energy would go, up and then come back away, depending on where your climax is, now for conducting meters i use a, different technique from another, conductor this time my very first, conducting teacher, robert linder he taught me this it's, also what bernstein, uses so we saw a little bit of it, measures, can be divided into eighth notes and, those eighth notes can be grouped in two, ways, either with two eighth notes four, division or, three eighth notes for division so when, you have, two eighth note long divisions you have, a short line when you have a division, that's three, eighth notes long you do a long line, so if you have a bar that's say 2 8, long it's got two eighth notes in it you, just put a short line over it, 6 8 can be divided in two ways either, 2 three eighth note sections or three, two eighth note sections so depending on, how you play it, and then five eight is a, three eighth note division and a two, eighth note division together, and depending on which one is first you, can have two different symbols, if the three is first you put the long, one first, if the two is first you put the short, one first, now let's go into a score so i can show, you, how this works now let's go uh this is, irish stravinsky the rite of spring, um this is, uh the ritual of abduction movement, and i'll move to pencil for the score, you can see how the meter changes in, every single bar, in the score because that's just, stravinsky, so here you have a four eight bar so, that means you have four eighth notes in, it, divided into two sections of two eighth, notes, so you have two short lines, the next measure is five eight so, there's a division of, three and a division of two and the, division of three is first so you have, the long line, and then a short line for the two the, next bar is six, eight so you have two, three eighth divisions in here so you, have two, long lines then you have five eight, again, so you have a long line a short line, then a small tiny bar of 2, 8 so that gets one short line then you, have the six, eight again broken up into two sections, so it's two long lines, then you have three four which is three, subdivisions of two eighth notes each, so you have three short lines there, so as you can see when you're looking at, the score you know exactly, where the long beats are, even though you're changing your beat, length, every bar let's mark a score together so, we'll go back to beethoven symphony, number one, in c, and so the most important thing, about the beginning of this is the, tonality of the first three bars, so i would mark it in here at the bottom, so, first one's a c7 to f major, but it's not fully tonicized so i would, put it in parentheses, um if you want to know more about, tonicizations whether fully or, partial i would go and, check out mark and thacker's class, making beautiful music, he does it online over zoom so uh, just see when he has his next class, coming up, so the next bar we have is g7, to a minor major is, capitalized minor is in lower case, and then you put a line over the m in, minor so you know it's a lowercase m, it's not fully tonicized so i put it in, parentheses, then the next bar is d7, and then g and this is fully ton of size, because we get all of the notes for, g in this bar so it would be un, parentheses um so, i would circle the pizzicato markings, for everybody and then the arco, markings for everybody so i know what, was going on, now if we weren't on the first page i, would label, all of the instruments that come in and, hold but because we're on the first page, of the score they're already, labeled so i don't actually have to do, anything for that, the first and second violins have, the theme here in the fourth bar so i'm, going to bracket it, and then i'm going to highlight where, the other string players come in, i'm going to put in the instruments here, to mark their out entrances, see the bassoons come in at two, different points, which is really important, so i'm marking the oboe and the flute, when they all come in and then that's, that page done, so we go on to the next page here the, timpani is coming in, this is the first time that tiffany's, coming in so i want to give him a cue, so i highlight that, we have a crescendo here so, i'm going to circle that so that way i, know, it's a crescendo here's a crescendo as, well so i'm going to put in, the symbol for crescendo so that way i, know, and then out of all of this these horn, notes are the ones that move the most, so they're going to pop out and i'm, going to want to give them a cue so i'm, going to put, horn there and then this, is uh running up to us, in c major so all of the strings are, there so i'm going to mark all of the, strings, it's piano so i'm going to put the, dynamic marking and circle it so that, way i know it's piano, then we're in a confirmed c major so i, put that down there, and the first violins have the theme so, i'm going to do, half a bracket here so that way we know, um then i'm going to put in the, instruments here, as they come in so that way i don't have, to read to the end of the page, uh the strings come in with this, important little tidbit so i'm going to, bracket, that out now on to this page i'm going, to label the, instruments as they come in, so that way i can give them a cue, and then see how um the strings, add to the first violin so i'm gonna, highlight that, by putting in our brackets and then the, bassoon, also does that same thing here, and then they uh the violas and the, cello, chili bases add in here so i'm going to, bracket that off as well, so after all of these notes we the first, and second violins have the theme so i'm, going to bracket, them here's the timpani coming in again, after a pause so i'm going to highlight, that, and oh this entrance from the timpani i, didn't highlight so we're going to, do that as well, now looking at it we have this additive, again from the winds and lower strings, so i'm going to bracket off, that when it happens, flute oboe clarinet, bassoon and then because it happens less, than a bar later i'm just going to, bracket it like this, so that way i know they also come in, um the melody goes down to the lower, strings here so i'm going to bracket, that off, and again when it happens, and it goes from lower strings to, woodwinds so i'm going to label, them when they come, in, so that way i know it goes from here to, there to there to there, to there and then there, were to the second statement so that's, kind of how, i um mark a score the first time i've, seen it, now a marked score is not a fully, learned score, so you go through a score multiple times, you play it out on the piano, you listen to various recordings and you, get the music, into your body and into your soul and, when you do that you go through this, investigative journey, to really understand the work so i want, to show you, a fully uh marked up and fully learned, score this is beethoven 9. let's go, ahead and take a bit of the fourth, movement here, so you can tell that there's a lot going, on in this score it has, notes on the top and the sides and the, bottom, because i've written things in here, based on what i've learned, so let's take a tour so first off we, have, the phrase marking here, up at top you have the phrase direction, that goes from the first note and, climaxes here at the end so that way i, know the phrase goes, all the way to the end of the phrase, then i have the bottom note marked out, so i know, where to balance from i have a balance, note here in the brass because the, trumpets, will play really loud because they're, marked fortissimo with two, f's and so they'll over blow and you, need to balance this out with, the winds it's in three so i know what, meter i'm conducting in, we have the note of the harmony here, and then this a and this a are, markings for phrases for a freight a, large phrase diagram that would have, aaba, or something like that you have a note, on, the rhythmic instability throughout all, of this, so that is important through this, and then you have a couple notes about, research that i've done so wagner called, this the horror fanfare so, i put it in here with the german, notation for it, which i won't pronounce for you um, i marked that it's a set of variations, that this note is held over from the, adagio, so even though there's this big space, here the tonality has to be the same, uh going from one place to another then, i have a note here about, joy that i got from a beethoven text, so uh overall about this movement, uh let's move on uh so this is the first, recit we have our phrase number up here, uh you have a note on what the recit, does, from another analyzation of it, you have a balance note here the vcr, supported by the double basses, you have a couple of notes on links, to what it is you have the phrase, structure here so, it crescendos to there and that's the, climax, and then it comes away you have the horn, and the timpani that come, in before everyone else and then you, have the horror fanfare again, with the phrase marking this one, climaxes in the middle, so that's really important to know so, you go to here, with the energy and then start bringing, it back then i have the, intersection of the horror fanfare, and the chili bases here highlighted by, the circle, moving on phrase phrase phrase, i have the exact measure numbers this is, a quote from from the first, movement i have highlighted that is this, is the theme from the first movement, i have a harmonics down here so that way, i know, and then i've bracketed off the entrance, of the, chili and the bases again i bracketed, off the entrance of the jelly and the, bases here, another page of reset um i, have the location of this quote, in exact bar numbers and it's from the, scarzo theme from movement two, i bracketed off the rest at beginning, and then the text of the recent as, told by beethoven in one of his letters, again the exact quote bars, of this material from the third movement, phrases phrases i've highlighted, some of the woodwinds that come in that, accompany this recit in the chile bases, and then here's that beethoven quote, again again i highlight when the, winds come in at the end of the chili, base reset, and so i have my phrase diagrams, again here we have a sub phrase that's, four bars three bars four bars, and you can see i've tick marked it out, so i know what's going on, um i've marked that this is the joy, theme but it's incomplete, i have harmony notes down here at the, bottom, i've highlighted the the, woodwinds that are playing this theme, because the flutes aren't in there, and only one oboe and one clarinet but, both bassoons, and then the horns come in with a drone, the other horns come in here, and i have that labeled along with the, timpani, and so i have the exact words from, beethoven's letter about this, recent and then the cadence in d major, and so you can see there's a lot more, information in this, fully realized fully learned score, than would be in a score that i marked, in my first, go through thank you for joining me in, this video about score marking, if you'd like to learn more about score, marking i suggest contacting a local, conducting teacher, who can teach you all you need to know, i've had some wonderful conducting, teachers and mentors throughout my, career, and i'm privileged that they imparted, just some of their talent and intellect, upon me, the ones i mentioned in this video are, robert linder robert franz and marc ann, thacker, i'll link their websites below also, read the book looking for the harp, quartet an investigation into musical, beauty by mark n thacker, a link to it will be in the description, box below, i document my score study in videos, called score study with me, they're in fast motion with lo-fi music, playing, so you can just study along with me or, just watch how i mark a particular score, i'll link the playlist in the eye and, down below, like this video give it a thumbs up and, subscribe to the channel for more, what do you want to learn about next, leave me a comment down below, you can also support the making of these, videos on patreon, these videos take over 20 hours of, research to complete, so patreon is a great way to show your, support the bibliography for this video, can be found on my website, dominicgram.com, interested in seeing my process i, document it on my social media so follow, me for more updates, thanks again and see you in my next, video

Reddit Images 53

Just finished another page of the coloring book. Page 6… I believe 0

page coloring for ch 171. 1

Konomi coloring by @Shazayumart (chapter 93 cover page) 2

[No Spoilers] Digitally colored the cover page (not the actual cover of the book itself) of the Life Is Strange coloring book 3

[Other] who is this villain on my son’s coloring page? It’s driving me nuts! 4

Randomly coloring one page of my coloring book 5

First page of the coloring book done! Any thoughts? 6

{Artwork} Finally finished working on the coloring of this mask-less Spider-Gwen. It's about 98% pencils, with 2% of it in gel pen. It's a page from Marvel's WOMEN OF POWER coloring book, w/original art by Emanuela Lupacchino from Spider-Gwen Vol 2 #6 (Cover B Variant). 7

My coloring of the cover page for Ch. 159 8

This took SO many hours and it isn't even technically the first page... Maybe I should have picked something easier for my first time trying adult coloring, but I've always been ambitious. 9

Colored a page in my Horror Coloring Book (with colored pencils)! Available on Amazon + 5 Free Downloadable Coloring Pages 💀 See links in comments, thank you! 10

I colored an Empires-themed page from the latest Hermits and Friends Coloring Book 11

coloring page! 12

HEAT 2 - coloring page 13

Cool Platinum Age gem - The Story Of Just Kids (McLoughlin Bros. 1932). This is a 20 page mixture of text and prose illustrated in 3 colors. Just Kids was a kid humor strip that ran from 1923 to 1950. It was popular enough to inspire a comic book, a coloring book and a fistful of Big Little Books. 14

How many pages are in this set of orchestra coloring pages?, How many pages are in this set of orchestra coloring pages?, Do you want to share your orchestra coloring books with others?, Do you want to share your orchestra coloring books with others?, What instruments are in the Cleveland Orchestra?, What instruments are in the Cleveland Orchestra? , How many pages are in this set of orchestra coloring pages?, How many pages are in this set of orchestra coloring pages?, Do you want to share your orchestra coloring books with others?, Do you want to share your orchestra coloring books with others?, What instruments are in the Cleveland Orchestra?, What instruments are in the Cleveland Orchestra?