27 Barbie Coloring Pages to Print and Color

Barbie coloring pages cover far more ground than most people expect. Across the 27 printables below you get Paris evening gowns, a royal carriage, a trampoline in a back garden, two horses in a mushroom forest, a morning run in headphones and a working kitchen — drawn in three distinct line styles, from delicate pencil-weight sketches to thick cartoon outlines.

That variety matters, because the line style decides how you should color. A fine-lined sketch page rewards blending and layered pencil; a heavy cartoon outline looks better with flat, confident blocks of color. Matching your technique to the drawing is the single biggest jump in quality most colorists ever make. The opening page above — flower crown, unicorn, a bird landing on an open palm — belongs to the fantasy end of that range, and there is plenty more of it in the unicorn coloring pages collection.

For a much younger audience working in the same royal territory, the baby princess coloring pages drop the line density right down to chibi crowns and bold outlines a toddler can finish.

Each page below is listed with what is actually drawn on it and the one thing worth getting right. Print whichever ones appeal, or work through them in order as a set of small, self-contained exercises.

26 Barbie Coloring Pages, and What to Watch For on Each

They run roughly from formal to casual: Paris gowns and a royal carriage first, then everyday scenes — fishing, baking, shopping, a garden trampoline — and finally the horses, the run and the cartoon castle pages. If you are working with a child, start further down the list where the shapes are larger; if you want a technical challenge, the portrait crops near the top will give you one.

1. Two Friends in Evening Gowns by the Eiffel Tower

The sequinned bodice on the left-hand gown is the interesting problem here. You can fill every tiny cell individually, or knock the whole panel back with one flat wash and add six or seven bright highlights on top. Doing every cell takes real patience; skipping the texture entirely leaves the dress looking plain beside that long smooth skirt.

Both skirts fall in unbroken vertical folds, so this is a shading page more than a detail page. Pick one light direction before you start, keep the shadow on the same side of every fold, and leave the Paris rooftops behind them pale so the two figures stay in front of the city rather than getting tangled in it.

2. Little Girls in Party Dresses in Paris

Same city, much younger cast. The dress on the left is scattered with small flower motifs and the one on the right is plain, which builds a contrast exercise straight into the page. Give the patterned dress a very pale base coat first, or the motifs vanish the moment you color over them.

The bows, the buckled shoes and the ironwork on the lamp post are all small enough to need a freshly sharpened pencil. This is the page where rushing shows: blunt tips give muddy edges on details this size, and there is no fixing it afterwards.

3. Princess in the Royal Carriage

The carriage panel is dense scrollwork and the wheel spokes radiate from a single hub, so treat both as metal rather than wood. Two greys plus one warm gold pushed into the deepest curls of the scroll reads as gilding without touching a metallic pen.

Her gown spills over the carriage door, which hands you a natural place to darken the fabric and push it forward of the woodwork. If ornamental detail at this scale is what you enjoy, the crown coloring pages give you the same workout in a much smaller frame.

4. Fishing at the Lake

She kneels holding the rod while the girl steadies the line — two figures sharing one object, which is what makes this read as a moment instead of a pose. Keep their clothing colors related, even loosely, so they look like they arrived together.

The shoreline is drawn as loose pebbles and grass tufts, so it forgives edges that wander. For the water, use flat horizontal strokes and go lightest near the far bank; that alone creates distance without any blending at all.

5. Holding a Little One

There is almost no background here, so everything rides on two faces and the skin tones. Lay your lightest layer over the whole face first, then build shadow under the chin and along the jaw. Going dark straight away is the mistake nearly everyone makes on a page this bare.

Their hair is drawn in long parallel strands. Leave a clean unfilled band where the light strikes and it will look glossy; fill it edge to edge and it turns into a helmet. That one restraint does more than any blending tool.

6. Baking Cookies

The apron, the dough, the trays and the window frame sit in four separate depth layers. Color the window palest, the counter mid-tone and the apron strongest, and the kitchen suddenly has air in it instead of being one flat wall of pattern.

The cookies themselves are circles with a few marks in them, which makes this a good page to share: a small child can fill those while an older colorist works the folds in the apron. Two people, one page, nobody bored.

7. Sharing a Treat

Their eyes meet over the plate, and the plate is the smallest object on the page. That is your focal point. Give it the warmest, most saturated color you own and let everything around it stay a step softer.

Both gowns are floor-length with fine trim at the neckline and hem. Trim is where a second, darker shade of the same color beats a contrasting one — it keeps the dress reading as one garment rather than a costume assembled from parts.

8. Close-Up Under a Wide-Brimmed Hat

The eyes take up an enormous share of this page, which makes them unforgiving. Leave the white catchlight completely uncolored, ring the outer iris one shade darker than its middle, and then stop. Over-worked eyes go dead flat, and on a crop this tight there is nowhere to hide it.

The braid is a stack of interlocking teardrops. Shade the deepest point where each section tucks under the next and the plait gains rope-like depth; shade it evenly and it stays a flat zigzag. Same principle applies to every braid you will ever color.

9. Drawing a Butterfly

A page about drawing, inside a coloring page. The butterfly on her pad is the one thing you are allowed to make loud — it is her artwork, so color it as brightly as you like and keep the blouse quiet underneath.

Her sleeve ruffles catch shadow at every gather, which is a tidy little study in repeated folds. If you want the wings bigger and on their own, the butterfly coloring pages have far more pattern to fill.

10. Two Friends in Skater Dresses

A lace bodice on one, a plain ruffled skirt on the other, both in the same silhouette. That makes this the clearest page in the set for testing two color schemes against each other with the shape held constant.

The flared skirts are built from long triangular panels. Put your shadow in the matching panel edges on both dresses so the pair looks lit by one light source; light them independently and they stop looking like they are standing in the same place.

11. Bouquet and Lace Gowns

The bouquet is roughly forty overlapping rose heads. Work it as a single mass first — one pale pink across the whole thing — then darken the gaps between blooms. Coloring each rose separately turns it into confetti every time.

The lace bodices are drawn as fine open scrollwork with skin implied through the gaps. Leave those gaps white. Filling them kills the lace instantly, and it is the single most common way a page like this gets ruined. More fabric practice sits in the dress coloring pages.

12. On the Garden Swing

The gown is a wide bell of smooth fabric with almost no internal line — a rare invitation to blend. Two pencils of the same hue, light at the top of the skirt and heavy at the hem, give it genuine volume with no other technique involved.

The foliage is a loose cluster of leaf shapes. Vary your greens instead of flat-filling them all, and put your darkest green directly behind her skirt so the pale gown lifts off the background.

13. Confident Pose in the Store

Hand on hip, weight on one leg: her hip line tilts one way and her shoulder line tilts the other. That separation is what makes the pose look alive, and it is worth noticing even when all you are doing is coloring it in.

The shelves behind her are packed with tiny boxes. Grey them all down to one or two muted tones. If the background competes for attention at full strength, the figure simply disappears into the groceries.

14. Walking the Aisle, Seen From Behind

A back view, so there is no face to carry the drawing — the hair and the skirt tiers do all the work. Each ruffle casts a shadow onto the tier below it, and stacking those shadows is exactly what gives the skirt its bounce.

The aisle runs to a vanishing point behind her. Color the far shelves lighter and cooler than the near ones and the perspective the artist built into the drawing finally shows up in your version too.

15. Classic Princess Silhouette

This one is drawn in high contrast, with great slabs of solid black already sitting in her hair and the deepest folds of the skirt. Your job is only the mid-tones between them, and there is less room to wander than on the plain outline pages.

With almost no background, the gown carries the entire page. One saturated color across the skirt, with the existing black left completely alone, gives a poster-like result. There is more of this bold, graphic look throughout the princess coloring pages.

16. Barbie With Her Puppies

Two different coats in one pair of arms: the long-eared puppy has flowing fur drawn in strokes, the smaller one is short and fluffy. Follow the direction of the drawn strokes with your pencil and each coat takes on its own texture without any extra effort.

The floral appliqué runs diagonally across her bodice. Keep it a shade lighter than the gown so it lifts off the fabric instead of sinking into it. If the animals are the reason you clicked, the dog coloring pages are wall-to-wall fur.

17. Trampoline Jump Over the Garden

She is drawn at the top of the bounce, arms spread and hair lifted, and the trampoline mat sags below her. That sag is the detail selling the height — flatten it with an even fill and the whole jump loses its spring.

The cabin and treeline are fully drawn, so this doubles as a landscape page. Keep the roof and walls in clearly different tones. If buildings are the part you enjoy, the house coloring pages go much further with rooflines and windows.

18. Soaring Above the Mat

Same garden, higher jump, tighter crop. Her skirt flares from the rush of air coming up past her — shade the underside of every ruffle and the movement reads clearly even though nothing is actually moving.

The flag beside her snaps in the same direction her hair blows. Color both to agree and the whole page feels windy; color them at odds and it quietly looks staged. Small consistency, large payoff.

19. Riding Through the Forest

A front-facing horse, which is the hardest angle to draw and one of the easiest to color badly. Keep the chest and near shoulder in your mid-tone, darken the flanks that turn away from you, and leave the blaze down the nose light so the head keeps its shape.

The forest floor is dotted with mushrooms and small plants — your only chance for warm spots of red or amber against all that green. There are just a handful of them, so place each one deliberately rather than scattering color around.

20. Woodland Ride, Three-Quarter View

The same ride from an angle, and the angle makes everything easier: barrel, legs and tail all separate cleanly instead of overlapping. A good page to attempt a dappled coat with light stippled dots along the hindquarters.

The wreath in her hair echoes the flowers growing underfoot. Repeat two or three of the same colors between hair and ground and the page ties itself together — an old trick that works on any scene with plants in it.

21. Barbie on a Morning Run

The only athletic page in the set. Her back leg is fully extended and the front knee drives up, so the body forms one long diagonal. Any shading you add should run along that diagonal rather than sitting flat across it.

Athletic fabric is matte, not shiny. Keep the highlights on the leggings broad and soft, and save your sharpest, whitest highlight for the plastic headphone band — the one genuinely glossy object on the page.

22. Feeding a Bird by the Water

Two pairs of hands meet around one tiny bird, and the ducklings paddling below repeat that shape at a smaller scale. Color the bird last, warmest and brightest — every line in the drawing already points at it.

The chair legs stand in shallow water, and the drawn line breaks at the waterline. Leave a pale gap there instead of coloring straight through, and the water reads as water rather than as more grass.

23. Princess on the Castle Balcony, Part-Colored

This page arrives half-finished: the hair and a few background touches are already colored and the rest is line art. Treat it as a color-matching exercise and choose a gown color that actually sits well against that warm copper hair.

The style here is rounder and more cartoon-like than the sketch pages, with thick even outlines throughout. Flat blocks of color suit it far better than gradient shading — match your technique to the line weight and it looks intentional.

24. Tiara and Turrets

Big eyes, small mouth, layered skirt: storybook proportions, and forgiving for younger colorists because every shape is closed and generously sized. Nothing here punishes a pencil that slips.

The turret and flag give you somewhere to put a second color family. A cool stone grey behind a warm pink gown is the easiest contrast available on this page, and it works every time.

25. In the Kitchen With a Mixing Bowl

Her eyes are lowered toward the bowl, which is genuinely hard to draw and worth studying: the lash line curves downward and the brow follows it. Keep the eye shading soft so that calm expression survives the coloring.

The jars along the window ledge are see-through. A pale wash with the shelf line left visible behind them does more for glass than any amount of careful grey — transparency is about what you leave, not what you add.

26. Reaching for the Shelf

Her arm extends right across the frame with the pot lid sitting directly beneath it, so the drawing sets up a strong diagonal from shoulder to stove. Keep the pot a cool metallic grey and the apron warm, and the eye travels that line on its own.

The apron lace is drawn as a fine scalloped edge. Color the gown underneath first, then let the lace stay near-white on top of it. Lace almost always wants to be the lightest thing on the page.

Techniques That Work Across the Whole Set

Build color in layers, never in one pass

Press hard on the first layer and you flatten the paper tooth, which means nothing else will take. Lay a light pass over the whole shape, then a second pass only where the shadow falls, then a third in the very deepest folds. Three light layers of one pencil produce more depth than one heavy layer of three. If you want to go further with graphite before adding color, the color pencil sketching ideas walk through the same layering logic.

Decide where the light comes from before you pick up a pencil

Look at the page and choose a side — top left is a safe default. Every fold, every strand of hair and every shadow under a chin should then agree with that decision. Pages like the fishing scene and the store aisle fall apart when different areas are lit from different directions, and the fix takes two seconds of thought at the start.

Keep the background quieter than the figure

Several of these pages have busy, fully drawn backgrounds: shop shelves, forest floors, city rooftops. The temptation is to color everything at full strength. Resist it. Mute the background by a step or two in both saturation and darkness, and the figure steps forward without you doing anything to the figure at all.

Use pattern where the artist already put it

• Sequins, lace and floral appliqué are already drawn in — your job is to keep them readable, not to add more.
• Plain panels are where you can invent: polka dots, stripes and gingham all work on the skater dresses and aprons.
• Stipple lightly for rough textures like stone and tree bark; use smooth even pressure for satin and glass.
• Leave paper white for any highlight. White pencil over colored pencil rarely reaches the same brightness.

Repeat two or three colors around the page

A palette of five colors used everywhere beats fifteen colors used once each. Pick a couple of hues and let them reappear — the flowers in a wreath echoing the flowers on the ground, a ribbon picking up the color of a distant roof. Repetition is what makes a finished page look designed rather than filled in.

Know when a page is finished

Most pages are ruined in the last ten minutes, not the first thirty. The usual signs you have gone past the point of stopping: the highlights have closed up, the skin has picked up three or four different pencils, and the background is now as loud as the figure. Put the page down, look at it from across the room, and if the figure still reads clearly from there, you are done.

Why These Pages Are Worth the Time

For younger colorists, pages like these build the ordinary skills nobody notices until they’re missing: staying inside a line, holding a pencil at a consistent angle, finishing something that takes more than five minutes. The cartoon-style balcony pages are the gentlest entry point; the fine-lined portraits are the hardest and best saved for later.

For adults, the appeal is different. A page with a defined edge and a clear task is one of the few things that reliably quiets a busy head, and the technical side — matching light direction, layering three passes of one pencil, judging when to stop on an eye — is real practice that carries directly into your own drawing. The portrait crops in particular teach more about facial shading in twenty minutes than most tutorials do.

Frequently Asked Questions

What paper should I print these on?

Standard 80gsm copy paper is fine for colored pencils and crayons. If you plan to use markers, print on at least 120gsm or card stock — markers bleed straight through copy paper and will mark whatever is underneath. For a page you want to keep, print two copies: one to experiment on and one to do properly.

Which of these pages suits a five-year-old?

The two cartoon balcony princesses and the trampoline scenes. Their shapes are large, fully closed and few in number, so a small hand can fill them without constant frustration. Avoid the tight portrait crops and the bouquet page at that age — the detail is small enough to be discouraging rather than fun.

Colored pencils, markers or crayons?

Colored pencils for anything with fabric folds, hair or skin, because you can layer and blend them. Markers for the thick-outlined cartoon pages, where flat saturated blocks look best. Crayons work well on the large simple shapes but struggle on the fine scrollwork of the carriage and the lace bodices.

How do I keep skin tones from looking muddy?

Use one skin tone and vary the pressure rather than mixing several colors together. Add shadow with a light layer of the same pencil or a soft warm grey, and leave the highest points — forehead, nose bridge, cheekbones — almost untouched. Muddiness nearly always comes from too many different pencils in one area, not from the wrong pencil.

Can I use these for a class or a party?

Yes — print a mixed handful so there is something for every skill level at the table, and put out the same limited set of pencils for everyone. A shared palette makes the finished pages look like a set when you pin them up, which children notice and enjoy more than you would expect.

Start with whichever page you keep looking back at. One finished page with considered color beats six half-colored ones, and the habits that produce it — light layers, one light source, a quiet background — carry over to every drawing you make afterwards.