Operating in the ill-defined space between dippy and trippy (between cliché and
complexity), drawings always start with pencil on paper, free-hand or with straight-edge, before the coloring begins.
The nature of the composition–whether symmetrical or organic—often dictates location but not choice of colors. Color establishes the formal clarity of a work.
I pick color by feel. When things appear perfectly tasteful, I like ‘em; and
when the look is a mite wrong-headed, I’m okay with that too, usually.
If I have a good idea, I run with it for a while, doing variations, but not copies.
Once finished, I turn the paper over and sign, date, and name the work.
Rarely is there any white space left on the paper, though tonal contrast is a recurring concern.