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US spelling — coloring pages

Colouring page of a capybara sitting in profile with one eye and a blunt muzzle, beside a lily pad and three tall bulrushes at the water's edge, black outlines on white
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Capybara colouring page

A capybara sitting at the water's edge beside a lily pad and three bulrushes, in plain black outlines.

This sheet is a small scene rather than a single animal. The capybara sits in profile, so only one eye shows, and its blunt squared-off muzzle points to the side. The body is drawn as one broad rounded mass with short legs tucked underneath. To one side lies a lily pad, a flat disc with a wedge cut from its edge, and behind the animal three bulrushes rise on tall straight stems, each topped by a dense sausage-shaped head. A single line marks the water's edge along the bottom.

The body is one broad uninterrupted area running most of the width of the sheet, which is both the opportunity and the trap. Filled flatly in one tone it goes lifeless, and every stray stroke shows. The fix is to work in one consistent direction, following the curve of the back from the shoulder down towards the rear, and to leave a pale band along the belly line where light would fall. Two related browns, the lighter one laid down everywhere and the darker one added only along the top and under the chin, will do more than six unrelated colours.

The bulrushes are the opposite problem. Their stems are little more than the width of two lines, and pressing hard there will bleed colour past the outline into the white background before you notice. Sharpened coloured pencil, held closer to upright than usual, is the right tool. The heads are dense and dark in real life, so they take a heavy hand happily; scribbling over them in a deep brown and then adding short vertical strokes on top gives them a bristly look. Save the stems for last, when your hand has already settled.

The lily pad and the water line handle the bottom of the page. A pad coloured in a single strong green anchors the composition and makes the animal's brown read warmer by contrast. Below the water line there is nothing but open paper, and that space is yours to decide about: leaving it white keeps the drawing airy, while filling it with horizontal strokes of pale blue turns the sheet into a pond. Broken strokes with gaps of white left showing suggest moving water better than a solid fill ever will.

A capybara is a large rodent, heavy in the body and short in the leg, and it is thoroughly at home in water. Its eyes, ears and nostrils sit high on the head so it can stay almost fully submerged and still see and breathe, which is exactly the arrangement the profile in this drawing shows. Its coat is coarse and bristly rather than soft, its feet are slightly webbed, and it spends much of the day grazing on grasses and water plants near riverbanks just like the one suggested here.

Real coats run through reddish brown, warm grey-brown and a dusty tan, usually a little darker along the back and paler underneath. Any of those will look right, and the darker-on-top approach is simply one way to lay them down. Ignoring it is equally fine. The broad flank is a good surface for a colour that no rodent has ever been, and because the surrounding shapes are green plants and blue water, even a bright pink animal still sits in a scene that reads clearly. The eye is small enough that a dot of dark is all it needs.

Choose actual size in the print dialogue rather than fit-to-page, so the bulrush stems keep their width and stay easy to follow. Ordinary A4 paper suits pencil and crayon. Markers will bleed through it, and here that matters more than usual, since bleed in the stems will erase them; heavier card solves it. Printing two copies lets one person take the animal and another take the plants and water, which is an easy way to share a single drawing without either person waiting.

Because this sheet has a horizon line and a foreground, a finished copy works well as the cover of a school folder or a notebook, taped down flat. It can also be trimmed to the water line and mounted on blue paper so the pond continues past the edge. Taken on its own terms, this sheet asks for less precision than patience, though it wants some of both: there is one enormous shape to fill evenly and three very thin ones to protect while you do it.

Before you print

  • Fill the body in one stroke direction following the curve of the back, not in circles.
  • Leave a pale band along the belly and press harder only across the top of the back.
  • Colour the bulrush stems last, with a sharp point and a light hand.
  • Break your strokes below the water line rather than filling it solid.
  • Give the single visible eye one small dark dot and stop there.

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