Cow Coloring Pages

A chubby cartoon cow stands front and center, grinning from ear to ear with a curly tuft of hair between her horns. Color her body soft cream with charcoal gray spots, her muzzle dusty pink, and her hooves warm brown. Those five big circles are ideal for a first try at staying inside the lines.

A tiny calf sits square on the page, big glossy eyes taking everything in and a swirl of hair curling above its forehead. Soft oatmeal cream suits the body, with pale gray for the four spots and a blush pink muzzle. The shapes are large and open, so this one goes fast even for a first-time colorist.

A cow face takes up the entire page, grinning under a floppy tuft of forehead hair with three soft patches across the cheeks and brow. Warm cream works for the face, with cocoa brown patches and a rosy muzzle. With shapes this big, it is a good page for practicing smooth, even color.

A pocket-sized kawaii cow stands with a giant head, two round blush circles on its cheeks, and a heart at the tip of its tail. Keep the body pale cream, the cheeks and muzzle bubblegum pink, and the two body patches a soft lilac gray. The whole page is built from big rounded shapes, so it colors up quickly.

A cartoon cow stands in profile with a chunky bell hanging from her collar and four oval spots along her back and side. Try cream for the body, slate gray for the spots, and a bright brass gold for the bell so it catches the eye. The hooves are marked off with their own bands, ready for a deeper brown.

A young cow looks straight out from the page with a row of seven daisies resting across her forehead like a crown. Color the face soft cream and the muzzle pale pink, then give each daisy a different shade with sunny yellow centers. Working the flowers last keeps the petals neat once the face is done.

A cheerful cow stretches out mid-leap above a crescent moon that is smiling with its eyes shut. Cream and charcoal suit the cow, while butter yellow on the moon and stars makes the night scene glow. A wash of deep blue behind everything turns the empty paper into a sky.

A large cow dips her head to the grass, six soft-edged spots spread across her back and flank. Cream and warm brown suit the body, with meadow green for the grass tufts and a mix of pink and yellow for the three flowers. The rolling hill behind her is a good place for a lighter green so the cow stays in front.

A mother cow stands with her calf tucked in front of her, both wearing soft-edged spots and matching smiles. Give the mother deep chestnut spots and the calf lighter tan ones so the pair reads as related but distinct. Four tufts of grass along the bottom are a good spot to practice two shades of green.

A cow stands front and center with a plank-sided barn and a round silo rising behind her. Classic barn red on the walls and slate gray on the roof make the background pop, while the cow stays cream with charcoal spots. The vertical planks are a good excuse to vary your reds slightly from board to board.

A Holstein cow stands side-on with her head turned toward you, nine wavy spots spread across her body and neck. Keep the coat white and go bold with near-black on the spots, that contrast is what makes a Holstein look right. Two small grass tufts at her hooves are the only background to worry about.

A long-lashed dairy cow stands in the milking corner with three lidded cans lined up beside her and a three-legged stool at her back hooves. Try steel gray on the cans with brass bands, warm oak on the stool, and cream with charcoal spots on the cow. The banded can bodies reward a careful hand.

A cow lies down with her legs folded under her, resting in the shade of a broad tree with five rounded clusters of leaves. Layer two greens in the canopy so the clumps separate, and keep the cow cream with soft gray spots. Three grass tufts along the bottom edge finish the scene.

A cow lowers her head to a wide oval pond, the surface rippling out in curved rings from where her muzzle meets the water. Layer two blues on the pond, lighter at the outer edge and deeper toward the middle, so the ripples read clearly. Cream and gray on the cow keep her from competing with the water.

A cow turns her head three-quarters toward you, her whole face and neck filled with leaves, spirals and feathered fans. Pick three or four colors and repeat them across the patterns rather than giving every shape its own, that is what holds a page like this together. Long lashes over a half-closed eye are the one soft spot in all the detail.

A cow head faces straight on, its forehead taken over by a mandala of concentric rings circling an eight-petal flower. Work outward from the center ring by ring, keeping each band a single color so the symmetry stays readable. Chevron-striped horns and fanned ears frame the whole thing.

A longhorn bull stands in profile with horns that reach almost the full width of the page, his body filled with paisleys, mandala rosettes and curling vines. Rich rust and deep teal suit an animal this sturdy, with banded horns in bone and gold. The few blank patches on his flank are worth leaving white as breathing room.

A cow stands calm and still while daisies, bellflowers and long grasses crowd right up past her knees. Vary your flower colors across the field, soft yellows, lilacs and whites, and keep the grass in two or three greens so it does not go flat. The cow herself works best in cream and warm tan against all that color.

A friendly cartoon bull waves hello with one raised front leg, a gold ring hanging from his nose and a tongue peeking out below his smile. Color him warm caramel with darker brown spots, and give the nose ring a bright brass so it stands out on the muzzle. Three big oval spots make the body quick work.

A cow stands sideways with nothing around her, just four round spots, a single curl of hair, and four banded hooves. Cream and gray is the classic pairing, though this page takes any color you throw at it. With so few shapes and such thick lines, it is one of the best pages here for a first-time colorist.

A calf lies with its front legs stretched out ahead and its tail curled around one side, three round spots dotting its back. Soft cream with pale gray spots keeps it gentle, and four little grass tufts along the ground give you somewhere to put a fresh green. The shapes are wide and rounded throughout.

A cow looks straight out from the page with a wide ribbon bow perched between her horns and two tails of the ribbon falling over her forehead. Cherry red on the bow against a cream face gives the strongest contrast, with a soft pink muzzle below. Two round shoulder spots round out the page.

A round-cheeked cow holds an oversized strawberry against her chest, and three smaller strawberries stand in for her spots. Strawberry red on every berry with green leafy tops, and a soft pink milk shade on her body, is the pairing this page is built for. Two blush circles on her cheeks finish the look.

A cow stands beside a wooden picket fence with three plump chickens lined up in the foreground. Warm oak on the fence, cream and gray on the cow, and three different chicken colors, rust, buttercup and white, keep the farmyard from looking uniform. Red combs and orange beaks are the small bright notes.

A farmer in overalls and a wide-brimmed hat runs a bristled brush along the back of a calm spotted cow, with a metal bucket sitting on the ground nearby. Denim blue for the overalls, straw tan for the hat, and cream with soft gray spots for the cow. The bristle lines are worth a fine tip if you have one.

A cow stands calmly by a picket fence while a tall windmill with six broad blades rises behind her. Try alternating two grays across the blades so the wheel looks like it is turning, with weathered wood on the tower and fence. Cream and charcoal on the cow keeps her clear against all that structure.

A cow rests her chin above a wooden gate, head and shoulders showing over four horizontal rails and two diagonal braces. Jersey cows run a warm fawn brown, which sits beautifully against weathered gray timber. The short grain lines drawn into every rail are a good place to layer a second brown.

A cow stands smiling in the grass while a five-band rainbow arches overhead, each end tucked into a puffy cloud. Run the classic order down the bands, red on the outside through to violet inside, and keep the clouds pale so the arc stays bright. Six spots on the cow and four grass tufts finish it off.

A cow sits upright on a bicycle with both front hooves on the handlebars, pedaling along a plain road. A cherry red frame against cream and gray on the cow gives the page its snap, with charcoal tires and silver spokes. Those thin spokes are the one place where a fine tip really pays off.

Four spotted cows stand at different depths across a field packed with small five-petal flowers and grass clumps. Scale your colors with distance: strong contrast on the nearest cow, softer and paler on the one up by the hills. The row of round trees along the skyline is a good place to try three shades of green.

A calf stands square in the grass, head raised, its whole coat divided into dozens of small irregular patches that follow the shape of its body. Two close browns worked patch by patch will give it real depth, with pale cream between. Long grass blades and four daisies fill the bottom of the page.

A cow head faces straight out from the middle of a circular frame built from rings of veined leaves, pointed petals and small teardrops. Give the frame one color family and the cow another so the two never blur together. The face itself carries curling scrollwork right down to the nostrils.

A soft toy cow sits with its legs out in front, button eyes sewn on and dashed stitch lines running down its middle and around each paw. A muted dove gray with cream patches suits a plush better than bright farm colors. Leave the stitching white so the seams stay visible against whatever you choose.

A calf looks down its own nose at a butterfly that has settled on its muzzle, both eyes swiveled toward the visitor. Keep the face soft cream with pale gray patches and a blush muzzle, then make the butterfly the brightest thing on the page in orange and gold. The oval wing spots are worth a lighter shade inside.

Around twenty cow print blobs float across the page with nothing between them, each one a different wobbly shape. Classic black gives you real cowhide, but this page is just as happy in a full rainbow or two alternating shades. It works as wrapping paper, a book cover, or backing for a collage.

A cat has curled itself into a tidy circle on a cow's back and gone to sleep, eyes shut and ears relaxed. Give the cat a warm ginger or soft gray so it separates cleanly from the cow's cream coat and six charcoal spots. Two small grass tufts at her hooves are all the background there is.

A cow in a full spacesuit stands on a cratered moon surface, helmet dome over her horns and a control panel on her chest. Silver white on the suit against a deep space background makes her stand out, with a striped planet and four chunky stars filling the sky. Leave the helmet glass clear so her face shows through.

A cow settles onto the sand in a wide-brimmed sun hat, a striped umbrella tilted over her and the sea rippling behind. Alternate coral and white across the umbrella panels, keep the sand a warm buttery tan, and give the sea a clear blue. Straw tan on the hat ties her to the beach rather than the barn.

A cow stands in profile with her body split into angular panels, every one carrying its own pattern: hexagons, zigzags, stripes, diamonds, scallops and dots. Assign a color per pattern type rather than per panel so the whole animal holds together. It reads like a patchwork quilt shaped into a cow.

A cow stands in the snow wrapped in a long knitted scarf, the stitch texture drawn out row by row down to the fringe. Deep berry red on the scarf against a cream and gray coat gives the page its warmth, with bare trees and eleven snowflakes filling the cold air behind. Every flake has six arms worth keeping crisp.