Edited to add: Rather than starting a new entry for the coloring technique, I've edited this one to show the step-by step process below.
I used my Scor-Pal to create a patterned, textured background (very simple to do--directions here) and I used my Copic markers to color the Peaches image (directions/colors below). Background is Prism Intense Kiwi, while mat layers are Prism Frosted Orange and Desert Coral Light. Ribbon is white taffeta that I dyed with two Copic markers, R20 and YR21. Pearls are Ivory/Pale Yellow. I used two sizes of my Spellbinders Nestability Rectangles for the focal image and the pale peach mat.
Hope you're having a great weekend! I will be if I can get some big projects finished. . .
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Step 1: I started by stamping my image in Adirondack Pitch Black ink on Neenah Solar White cardstock. Another ink that I like is Black Brilliance, but it needs to be fully dry. (Staz-On is not suitable for Copic coloring since both are solvent based media.)
Next I used the YR21 marker to solidly basecoat a couple of the peaches. I finished the right peach so that you could see where I am going with the peach on the left. If this were a shiny fruit, I might leave a patch of paper white as a highlight. Peaches, being fuzzy, aren't reflective, so I left no bright highlight. (I did, however, go back at the very end and with the clear blender lift a bit of color out of the pale side of the peach.)
Step 2: Here I have applied the R20 marker over half of the peach on the left. I'm not going to worry about a smooth blend just yet.
Step 3: I added some R14 on the shadow side of the peach. It's too dark right now, but I will tone it down on the next step.
Step 4: I went back in with the Blush/R20 and blended the Light Rouge/R14 in up to the midline of the peach, then I used the YR21 to blend the line of Blush/R20 in . At this point, the peach was a bit darker on the light side than I wanted it, so I used my clear blender/o to lift just a bit of color out for a highlight.
Step 5: Here you see the bowl of peaches pretty much finished. I went back at the very end and added a bit of shadow (W2) and lifted some more highlight (0), but this is close to being complete.
Step 6: I started the leaves here with a basecoat of G40. then added some YG03 to one side. (I will go back and add a bit of G99 for shadows later.)
Step 7: I've already mostly colored the left and right leaves so that you can see where I'm headed with the center one. First I coated the large leaves in G40.
Step 8: Then I added some YG03, YG63, and G99 to get plenty of light and shadow contrast going on. I left the very edges of the center leaf slightly lighter so that they would stand out from the left and right leaves.
Step 9: Finally, I went in with a warm gray marker (W1) and added a shadow around the base of the bowl. Notice that my shadow extends farther on the same side that the peaches are darker. To get a soft shadow, I first used my clear blender to coat the outer perimeter of where I wanted my shadow to extend to, then I quickly switched to the W1 to add the shadow, starting at the bowl and working into the damp clear blender area. I quickly picked up the clear blender again and worked it into the gray edge to dilute the gray and soften the look.
You can also see on this step where I went back and lifted more highlights out of the peaches with my clear blender (0), and added some Dark Olive to the peach leaves.
Some general coloring thoughts:
1. I prefer working light to dark. That doesn't mean that you can't work another way; it's just the way that works best for me.
2. It is much better to have at least three shades of one color than to have three different colors if you intend to do any shading and blending. Try to get at least a light, medium, and dark shade of each color. (Ellen Hutson has done a great job of trying to narrow down 322 possible colors to a manageable palette for stampers.)
3. If you order markers and a clear blender, make sure that you order a clear blender refill. I've gone through about one half of a clear refill in about eight months time, but I color more than most people. :-) Still, you don't want to have a dry blender when you need a working one!
4. Always think before you color. I know that sounds obvious, but tell me that you've never sat there adding color to paper without having thought through the form of the object and the light source for the object.
I hope that you find these tips helpful!
Nichole asked us to keep the Everyday Blessings cards simple to reproduce, and that's what I did. My first Everyday Blessings card is a standard A-2 size, stamped on brushed gold cardstock with Versamark and heat embossed with detail gold embossing powder. I accented the cross with iridescent Swarovski crystals after cutting and embossing my image with a Spellbinders Classic rectangle die and matting it with ivory cardstock. 
My second Everyday Blessings card is 4-1/4" square. I created a patterned background by using the small cross in a repeating pattern with the Aqua Mist ink. I don't have my PTI Aqua Mist cardstock yet, so colors are a bit off--the closest I could come with trying to ink some paper. I used my Spellbinders Petite Oval Nestabilities, both plain and scalloped, to create the medallion that contains the Bible verse. Brad is an SU brad, re-colored with a Copic marker to coordinate. You can't see it well in the photo, but it is a darker aqua color that works well with the Aqua Mist ink. I used a Versamagic Turquoise ink to stamp the verse.
