Painting over mistakes is like sweeping dirt under the rug. No one will know unless you want them to.

Having finished my third The Simpsons painting (Milhouse Van Houten), I definitely feel as though I’ve hit my stride/found my groove in terms of style. This is where I belong: painting the Simpsons, one character at a time.

This being said, however, even the smoothest of grooves contain a few bumps here and there. The final result is perhaps one of my best (stay tuned to later in the post), however, it wasn’t easy getting there. Normally when I draw my characters, it goes pretty flawlessly. This time was different.

I, for whatever reason, struggled with Milhouse’s proportions and erased and redrew at least 10 times. Each time I erased, my new lines were harder to see so I had to press more firmly with my pencil, creating darker and darker lines. Then when I erased those lines, I had to go even darker the next time. Long story short… I made a mess.

Normally my sketch is just a bunch of dotted lines as you can see from my Squidward sketch.
This week, I had to use actual lines. Compared to the Squidward above, these lines are much darker and harder to paint over.

My plan was to simply paint over the pencil lines over and over again until they went away. This would have been difficult considering the yellow I use is fairly light (I mix it with white). Luckily, I found the following video that seemed to save several layers of paint, a few hours of repainting, and the piece in general.


This site, as well as (which has become one of my go-to sites) also offered some great solutions. It was, however, much easier to watch the video on YouTube. The Internet has many articles that are super informative, but in this particular scenario, “Ain’t nobody got time for that!”

So here is my final product. You can see that this character is much more detailed compared to my previous characters. In particular, the glasses were quite complex. I also painted his entire body instead of just his head.


Lastly, I’m quite proud of his facial expression and the background that enhances the character’s mood. I’ve found that my best work comes from bringing the characters to life, and this one in particular seems to portray a sense of emotion. I consider this a victory.