Alcohol Markers: A Complete Beginner's Guide. (Exploring Ohuhu Markers) | Pooja Kenjale-Umrani | Skillshare

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Alcohol Markers: A Complete Beginner's Guide. (Exploring Ohuhu Markers)

teacher avatar Pooja Kenjale-Umrani, Watercolor Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (1h 35m)
    • 1. Introduction

      2:26
    • 2. Art Supplies: Choosing The Right Paper

      7:26
    • 3. Art Supplies: Understanding Alcohol Markers

      4:58
    • 4. Blending Technique

      8:52
    • 5. Proj-1 Avocado: Sketching

      4:18
    • 6. Proj-1 Avocado: First Layer

      11:43
    • 7. Proj-1 Avocado: Second Layer + Seed

      9:22
    • 8. Proj-1 Avocado: Texture + Shadows

      9:32
    • 9. Proj-2 Beetroot: Sketching

      5:49
    • 10. Proj-2 Beetroot: Painting the Beetroot

      10:18
    • 11. Proj-2 Beetroot: Leaves, Stems, Veins

      9:22
    • 12. Proj-2 Beetroot: Texture + Shadows

      7:21
    • 13. Project Ideas

      1:18
    • 14. Important Tips + Conclusion

      2:09
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About This Class

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Hello there! 

I am excited to explore a brand new medium with you all in this class. We are going to work with alcohol markers and I consider this class as a complete beginner's guide for all those who need a starting point for taking on the journey with alcohol markers! 

I am particularly going to explore Ohuhu Alcohol Markers and together we will complete 2 very interesting and fun projects. 

I will also be sharing some tips and tricks for using alcohol markers efficiently and share my experience of blending and coloring with you. 

I can't wait to get started. See you in the class. 

Keep creating,

Pooja

Meet Your Teacher

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Pooja Kenjale-Umrani

Watercolor Artist

Teacher

Hello there! I am Pooja.

I am (or should I say was) a software engineer by qualification and product manager by profession. But I prefer to be identified as an artist by heart. After working for several years in the IT industry it was eventually the heart that won over my soul and mind. I finally decided to quit my 9 to 5 'job' and decided to take on with a dream to do something my heart loves. What followed was a long, arduous journey that led to a beautiful outcome – By The Lakeside Art Studio. A manifestation of my passion and love for making handmade candles, the art is my attempt to blend my fondness for lights, fragrances and colors. I have made over 500 candles and hold an expertise in making paraffin and natural soy wax candles. 

As years passed by,... See full profile

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Transcripts

1. Introduction: Hi, I'm Pooja and the artists behind the Instagram account by the league side art studio. After working with watercolors and wash, I really wanted to explore a medium that would make me take a step in different direction and fostered exploration of different art supplies, right, from choosing the paper to the method of exploring the medium itself. And this led me to alcohol markers. And I'm so happy to share with all of you that have absolutely fallen in love with this medium. Each time I walk with alcohol markers, I feel immense joy of exploring a new medium. It has been a good distraction. Everytime I took a break from watercolors and goulash. In today's class, we are going to explore alcohol markers. And I consider this class as a complete beginner's guide for all those who need a starting point for taking on their journey. But I'll go with markers. I'm particularly going to explore the Ohio who alcohol markers in this glass. And together we've incomplete to fun and interesting projects. I've been also be sharing a lot of fixed centric for using alcohol and markers efficiently and shared my expedience of blending and coloring with you. I hope you're as excited as I am for this new medium, and I can't wait to get started. 2. Art Supplies: Choosing The Right Paper: Okay, so let's look at all the art supplies that we are going to need for today's class. The first and foremost is the paper. I'm going to be using the marker pad, which comes with 78 sheets of people, which is 120 pounds. So each sheet of paper is 120 pounds or 200 GSM. So let me just show the sketchbook. So it says squared designed. It has line over yours which helps you cut the paper if needed. And the paper is very small. So the paper that we use for markers, alcohol markers in particular, are in general, very smooth to work on. They do not have any textual. So this paper is quite take compared to the others that I've used. So it's about 120 out. And it just makes working with alcohol markers a lot more easier. And the main reason for this is that if you use paper that does not meant for alcohol markers, then there are chances that the ink will bleed through the people and you will see the ink getting transported onto your next page or the fresh page underneath the current working sheet of people. So make sure that you use a paper that is particularly made for alcohol markers. Now, if we want to go into details of this, I can tell you some more information about papers to use for alcohol markers. Basically. Marker paper is typically a ten smooth a pod that's quoted. Now. It is ideal for working, especially with alcohol markers because they had little to absolutely no bleed through when used with alcohol markers and augmented markers. So I'm like drawing paper or God stock that does not soak into the paper. And because this paper does not have any textual dude or green, Not a lot of ink is absorbed by the surface of the people. So you end up saving a lot of ink if you use the correct type of paper. Now you may ask me that, why can't I use what kind of people It's taken off referred to a 140 pound. The color probably won't bleed through, but because it's made of cotton and because it ties green and textual, there are chances that the papal would absorb or eat up a lot of ink. And then our chances that your marker will probably exhaust a lot more sooner than you expect. So this is also a reason why you should use. People that isn't meant only for markers, especially alcohol markers. So that's why it after reasons why these papers are manufactured separately and you can just use, you know, a printer paper or any card stock people to work with alcohol markers. Moving on. B will also move up Benson and then putting 0 for sketching. And then in our demonstrations today, we're also going to make use of black ink and white ink. So this is a white ink gel pen from art supplies. Again, It's a beautiful bright white pig Gen Ben, that works absolutely well after after working with alcohol markers. So I really like to keep to spend handy. You can use any other brand. And I'm also using my sigma micron or black pens to do all the detailed walk. So these other phones at the time that you can also keep some small sheets of paper handy to do some calculus watching that we will be talking about later on. So I just got out the same paper into these rectangles are smaller sheets just to have all my swatches ready so it's easier to start painting quickly and you don't get lost in choosing colors from the entire marker set every time. So typically what I do is I just watch my colors and small sheets of people and take out only those markers from this. So this prevents a lot of time from jumping back and forth, you know, just trying out sheets and then again going back and picking up another shared. So that just saves you a lot of time. Now, one thing I forgot to mention is that oh, who who marker prior to that I have here comes with this protective FAD which is I think made of plastic or silicone. I'm not sure exactly what the materialist, but it's quite taken. It's like this sheet of plastic that you place underneath your people before you start working on anything. So this prevents although color bleed through. So when you do a lot of layering, maybe more than fertile five layers, this particular sheet will really help of any kind of guided transmission onto the page underneath. So similarly, I have got like two more sheets. So I make sure to use these sheets. And I'm what I'm coloring. So this particular sheet came with this set of 120 or alcohol markers. So I made sure to use this sheet. It says that if your coloring on ten people, please put this bag between your kundalini sheets to prevent any bleed through. So that's exactly what it does. So I had run off this. Ok, now coming to the actual markers, like I have here is a set of 120 or alcohol markers from this brand. Or who, who, which comes o with this swatch card. And it has beautiful shades of pink, send reds, yellows, greens, beautiful shades of Greece that are wrong. Greece and cooler Greece. So it's, I think this set is just about perfect. And once you have these, these many set of colors, you actually don't need any other, that is nothing missing from your connection. So I'm going to talk more about for this particular set and how these markers work in the next section. 3. Art Supplies: Understanding Alcohol Markers: Before we actually look into seeing how these markers work, I would like to say that alcohol markers differ from water-based markers in that the color or the dye or pigment is suspended in the alcohol. Or any other fast evaporating solvent rather than water or glycerin. So that's the basic difference between your watercolour brush pens and the alcohol markers. So the pigment is always suspended in alcohol. And this means that the adequate markers are not water soluble. Now, though, my markers basically have doubled tips or do any burps. Like most dogs though, either alcohol markers have. So if you open the net so that one side has a broad schizont dip and the other side has a brush tip. So the brush tip as drew a nice suit and it has a beautiful point. So that allows you to make really thin, smooth lines as well as thicker lines by pressing the best stock. So this is the drum, that marker. But I'd also some markers which had a guard which isn't up on one side and a bullet that on the other side. I'll just show you how that marker looks like. So let's have a look at this one. Now. I also have this other set which has a broad she isn't up on one side and a bullet or a find that on the other side. So this is more like a regular sketch pen or another fine that you use. So it's very similar to that. It's not flexible. You can not dressing like a brush. So it's just a fine bit like, like a pen. So these other two varieties that mod girls usually have with a broad tip and oh gosh, did or abroad, and a fine bullet like in this one. Now, this particular set also has a colorless blender. So basically this marker does not have any pigment on candle. So it's basically a color correcting thing, but you can also use it for blue. So what I usually do is that suppose that these two shades, darker and a lighter shade, and that is no shade in between these two. So what I would do is just use these bends, like just brush this. Then on top of this particular just be stuck a lawyer and then use it as a marker. So this allows you to get a lighter shade, which is somewhere between these two condos. But make sure that you use decolonize blender to take off or darker pigment. It's not it's not something that wouldn't blamed two colors together, but it's more often used as a color correcting Brando. So there is a slight difference between the two functionalities and it definitely does not do blend ending to condos to get those. So this is not the primary function of this particular blend off. So that's about the colonists blender which is included in this set. Let's also talk about the color-code stuff I've written on the caps. So basically the alphabet is the column family. And the numbers are actually the shades, all the radiations of that particular color. So this is how that kinda coded. And it's very easy to pick up the colors depending on the conduct of the gap and the cork that's written on each of the cap. So that's pretty much all the information that I wanted to share about the alcohol markers. And before we go any further, I would like you to test the markers that you have. Just oh, ghetto, fetal fate, how they work and how the ink dries and rather don't know until the bill do oh, used a brush tip or the drug chiseled tip. 4. Blending Technique: Now let's talk little bit about the two depths. The reason for having two tapes to these markers now one is approaches rooted. So whenever you have larger sections to think, if you really want to come abroad section of people that she isn't, it really helps to work your way fast. It's quite a good coverage. So this way you can cover maximum area. And then the brush tip really helps you to have ten lines like this. When you really don't press your brush too much. So I can draw lines that are As ten as the. So when you want to draw tenor lines, you can hold your pen perpendicular to the paper like so. This is a tip that I also usually recommend for holding your brush. I mean, a watercolor brush when you want to make really thin sharp strokes. So exactly in the same way. And we're going to hold my pen like this to make tonal strokes. And then if I press this tip a bit, I'll get a thicker line. And then you can also use the brush to upside for blending. So truly gives you a smooth batch without streaking. So I really like the way you can use both the depths depending on the subject or the area that you are coloring. So that is the main difference between the broad dip and the plush step. Now a very important technique that you are going to be using quite often is the blending technique. So without blending, your alcohol markers are not going to knock. Exciting. Are the images look like any other normal coloring pens? So the main feature of having alcohol markers is the fact you can blend these things into each other. And that's what I enjoy the most about it. So let's try to blend two colors. And let's see how we can implement this technique. So I'd probably pick up a couple of shades of blue and we can see how we can blend them. Okay, so I have these three shades of green here. And I'm going to start coloring batch with these and see how I can blend them into each other. So this is the light green. Oh, if you observe, if I use this marker once, it creates a light shade or the swatch of that condo, if I happen to swipe it again, it creates a slightly darker shade. So you will see that this is the first layer. And then when I watched it again, you will see that the color look quite dark and minified do work the third time. And on top, topo. Previous layer, you will see that you will get the darkest value of that in God that color. So this is also one way of using a mako. You can just start by building the layers on top of the previous layers. Okay, moving on. Now I'm quoting them mixed shader group, which is slightly darker than this one. And I'm simply going to swipe this guy off, like so. And then I'm going to go back to the lighter shade again. And then just move it around. On the darker blue, especially on the page where the two colors need to blend it nicely. And then let's use the darkest shade here. See how you can blend these three colors together without any harsh lines. I'm going to go back to the middle. These two together nicely. And then use my first shape, which is the lightest. I'm just going to blend all of this nicely into each other. Like so. This is a beautiful blend of colors. So I used three colors here to create this blend. So most often, blending will happen as the Incas drying out. So when the ink actually dries up, you will see a beautiful blend of condos. Let me show you some other blending that I've done from my previous illustrations. So you'll get an idea of how you can blend colors. So when covering this particular node, I'm started off with the lighter shade of orange and then started building the nurse. So you can see that the darkest batch is blended into the lighter shades of red. I probably used three or four different colors to blend this very smoothly and nicely. So as you can see that I'm no harsh lines or streaks of color, but everything has been blended smoothly into each other. So that's exactly what you should try to achieve when you're using blending techniques with alcohol markers. So make sure you do not get any harsh lines on maybe let's see another example of this green door. So as you can see that I lighter shades on the side. And then I went on adding more blending colors. And eventually it just turned out to be a very smooth gradient of getting Gandalf. Now another thing that I want to show you is the spot, the backside of the people on which you do your illustration. Now this particular, like I said before, is 120 pounds, but the color bleeding on the backside of that same Paypal is quite normal. What is important is that this color is not bleeding onto your fresh page. So if you see that your car, you see a batch of Ghana right behind the Bayesian that you're walking on. It's absolutely normal for any kind of alcohol Marco people to have that staying at the back. So unless you're using something like Canson wall, I'm not really sure if that would create an impression at the back or not, that having an impression behind like this is absolutely normal. What you're born is the color bleeding through on your fresh people underneath. So that's something I wanted to talk about. Okay, so we pretty much have all our basics and place and now we can actually begin, but our illustration or the projects that we are going to work on together in the class so that there are no supplies. And let's begin. 5. Proj-1 Avocado: Sketching: So let's start by drawing an oval shape, which is a point at the bottom. So something like this. And then we're just going to draw another oval shape. Or maybe an imperfect circa. Make sure that you don't grow a round circle like so. Try to keep this shape slightly imperfect because the seed of the avocado is not exactly circular. So we just try to keep this shape a approximate. Just fine to bring my sketch but closer. So I just drew an oval-shaped, better taper at the bottom. And then just soak you on the dot. And then I drew an imperfect circle towards the top portion of the avocado. So make sure that you leave more distance towards the bottom and it's closer to the top portion of the avocado. So this is the sketch. Okay, so I'm just going to, you'll find my sketch a bit and maybe make the side slightly bigger. But I'm not making too many changes, so don't worry. And the seed orphan avocado is quite big. So make sure that you're drawing it in proportion with the size of the fruit. So I've just drawn probably about 45% of this entire shapes of just like close to half of this is like the size of the seed. So that's the sketch. Alright, and all the other details, the borders and the texture, and the side b. We are going to show all of these details when we actually start coloring it. All right, so I'm just going to lighten my sketch a bit. Now if you see a sliced avocado, you're gonna see that that is this. Are they soft edge when we slice it. And then the middle portion is sawed-off, beach yellowish. Sometimes it's it's darker yellow, sometimes it's really, really light. Butterscotch Kahlo. So, and then there's this green borders. So we will try to retain this body a little bit. Of course we are going to blend it with the yellow part, but we will try to, It's believed us Bordeaux. You. So don't forget it when we're trying to candidate. I'm just drawing a ten Bordeaux inside the main shape. So that's going to be our portion. And it's easier to understand the thickness of that border. Okay? So everything between these two lines is going to be blended with glue. We can start coloring now. 6. Proj-1 Avocado: First Layer: Let's start painting the yellow portion first, and then we will move on to the green portion on the outer edge. So this is our lighten shade, which is G17 three. So I'm just going to start coloring around. The seed is going to be the lighter most shade on the avocado. Just start applying in circular motion. Okay. So I'm just using the tip of my brush, the brush side of it, and trying to please the first column. And then I'm using the broad chosen deck to make sure it nicely so there are no streaks. I'm using circular strokes. So eventually tech show on the avocado will be so q naught. So that's our first layer. And I'm going to introduce around the slide. So far, close to you. So far. It's looking something like this. Now let's move on and apply the second sheet. Make sure to use circular motion. Segment from the Broad. And then using the first sheet, I'm going to blend the two colors. So now you see there is like a harsh edge between the light and the dark yellow. So I'm just going to move my lighter shade on top of the darker ones. So the two colors to introduce. I think I'm also going to add the tophi and also just allowed that yellow. Okay, so let's add this shade of yellow, which is called the barium yellow. I'll just show a swatch of this. I think I just forgot to include my swatch guy, but I think it's definitely going to look nice. So I'm just going to add in the scholar now just a bit on top after. So the green and yellow you blend nicely together. But I'm not going to go to Dharug because I still want to avocado to look fresh. Ok. So that's the yellow. And then I'm going to introduce a bit of a greenish logins. So remember there's going to be a lot of blending, especially when you're trying to paint something as realistic as an Avogadro, I'm still trying to not be so realistic sketch, but at least matching the shields and trying to use the perfect congressmen make a lot of difference in your illustration. Okay, moving on. Now it's time to start introducing our darker shades of green, which are from the students. So I'm just going to start blending in the skull. Ha, I'm using the brush side of the marker. And I'm just going to put some color, lay down some color on the border, which we drew all. Of course, I'm going to blend it later on. But just making sure that I am painting or coloring inside the lines. Going back to this Y3, which is the CLO. Okay. And then after the yellow, I'm going back to the first shared that we used and then blending it again altogether. Now blending is something which takes time and you need to have patients to relive millennial colors well, in order to see that effect. So I would definitely ask you to be patient during the blending process. Okay. So slightly under greener side, but liking how it looks. Slightly darker shade of green. Okay. And now again, I'm going to go back to a lighter shade and then blend that border again. So that's the method that is working good for me when I'm trying to work with markers is whenever I want to blend, I go to a lighter shade and then blend that again with the darker shade. And let's go back to the next sheet, which is the Chief 42, Gy 42, which is the S1. And now I'm going to make this border your lead tin because we're getting closer to the outermost edge. And when you're doing the outermost edge, makes sure that your lines are not very straight. But in fact, I'm making these ridges because if you've ever seen a sliced avocado, it's not very smooth. The surface is quite crude. So I'm going to make sure to include that crudeness or the tech show with the help of my brush. So don't make it draws some ridges and make it look a bit imperfect. So that when showed the sliced exposed skin of the avocado. Like so. I'm just going to make it a bit thicker at some points. So if you know the same icon again, you will get a slightly darker shade than just sending it at certain points. And now, let's go to the darkest shade, which is the swan, the deep olive green. And strive to add one more layer on the outside edge. And I think the moment you start adding the darker color, the avocado starts to look really nice and realistic. I don't really do a lot of realistic art. If you've taken my own your classes, you must have seen that always stick to lewin style floras or lose style of painting. But with the markers, I realize that especially about a painting food, it looks really nice if you tried to include some journalism and do the illustrations. So I'm really enjoying this process of how you can make your illustrations look realistic yet enjoyed the blending process with markers. 7. Proj-1 Avocado: Second Layer + Seed: So we have our forced layer ready. Now, we are just going to Oregon, some shadows on the spot. So if you see this avocado, there are slightly darker shoot Sophia law on this side. And then there's shadow of the seed, which we're going to do in the end. But for now, we will try to be this side of the Avocado a bit more darker. So let's try to add some more layers. And for that, I'm going to use a darker shade of yellow, which is the swan. It's called, He's still yellow. It's just going to swatch this seed slightly darker than the or near yellow that I used. I'm just going to play some kind of on the side and just add some. I'm not going to bend the colors so much, but I want to be seen. So I'm just going to make sure that I make very light marks. Now for the second layer, I'm not going to blame my colors so much because I want that texture do show intentionally. So I'm going to blend the colors just a little, but not too much like we did for the wafers cleared. So I'm going to go back to my first shade bitches, which was the S1, and then just blend the donkey logistics a little bit. Okay. Now let's jump in and do the seed. And then we will have a look at the entire picture and see if we want to add a couple of shades or add some more green or work on this outer border. So let's see how that goes. And to paint the seed, I have my Brown's laid out here. So I'm going to start with this light shade, which is yellow ochre y nine. And I'm just going to start placing it in a circular manner. So I want to highlight on the seed to be seeing some good here. And this is going to be the darker portion of the seed. So the shadow of the seed is going to fall on the site because let's assume that the light is coming from the sway or it's coming from the top, but slightly tilted. So that's the angle you're trying to visualize. So let's keep this portion light and dispersion dark. This is the first layer of ground. Okay? The next shade I want to use is the stellar cultural Brown, which is a beautiful, fresh looking brown. I'm using the broad. So better, not gnawed on when to use a broad brush. Something really which you can decide as per your convenience and the way you want to move your market around. The stucco ground with the or near yellow ochre, blending the two colors together. Then let's move on to the next Brown, which is total number will be R1. So let's take that Kahlo and start placing it on the outer edge of the seed. And since Brown, I'm going to merge with the shame that I used for New York, which was the Dakota brown. And then I'm just going to merge the two together. And they blend so beautifully with each other. So that's the blending. Then I'm going to use my taco down, which is why 12 mahogany. So I'm just going to please the outer edge. So if you want, you could use just do shades of brown and get the blending done. Or you could use yellow ochre and do Brown's. So once you start playing with alcohol markers, it all really boils down to the number of sheets you have in your collection. So don't it depends on how much blending and to what level of complexity or you want to go for it, something which is not fixed or does not own right or wrong about using a certain number of shapes to do your illustration. So if you feel you can blend about five colours together, go ahead and include all those shades and your illustration. But if you feel that only two colours are enough and you can blend it nicely without any other color. You could go for that too. So it all depends on how you want to use your markers and your comfort level with blending. Okay, so moving on. The sister darkest brown that I'm going to add right on the border of the seed. Blend it with this brown. One, does concentric circles to be seen, some making sure that things nicely. Now about the highlight, I really don't want this to be dead. So I'm going to apply the lightest shade of brown to just make it look softer. I don't want our daily harsher white highlight over there. So I'm going to use my yellow ochre and just swipe using the broad dip. And then I can work on it with with a white band Later on. I really like this gradation of colors from light to dark. So that's our seed and place. So all the forced layers are in place and now is the time to start adding more details and more texture. 8. Proj-1 Avocado: Texture + Shadows: Let's start with the shadow of the seed. And for that, I'm going to use my warm green one, which is, I think that's a beautiful shade or shadow of ground Gallo suggest going to use the tip of this brush and Tim border around the seed. Now make sure you don't go very close to the seed, otherwise, the Brown will start merging into the shadow. So that's looking nice. Constrained to darken it a bit near the edge. Okay, so that's the shadow of the seed. The next thing I want to do is work on the green border, just underdone. So I'm picking up this darker shade of green right here and placing some green colour near the border. Okay? Now we need to work on the shadow of the avocado itself. So let's imagine that we are looking at the slice of avocado from adult bamboo. So obviously when you look at it from top view, the shadow is going to be underneath the avocado. So we're just going to show a ten Bordeaux grape border around the avocado to show the shadow. And for that I'm going to use two shades of grey show the solar chinks. So that's the cooler grief. And the sweat is slightly down. To go with the swore that they would Bain's very beautifully into it. This is the most senior three. So these are the two shades that I'm going to use to work on the shadow. So let's take them like WE first, which is the CG glue and paint a very thin border around this avocado. And then using the docker. So that's the shadow rounder. And now is the final step. Let's go ahead and do all the other details which you see on this avocado are older than markings which we have used to work on the Highlight and the texture. So let's try to add these details. For that are light chain, which is also by Aho and my big mouth microbiome in 01. So I am using these two pins to work on the details. I'm going to meet some dots. The next step is to add some texture. Darker side and just adding a really sharp highlight between the shadow and the darkness of his ortho seed. Just to show that the C does protruding out, we're just going to try and see if I can make that texture. Ok. And now I'm going to use my black pen to add some more texture on the scene. And that said, this is our sliced piece of avocado, which is from the top angle. Similar to this. And if you want, you can also try to color a slightly chanted version. So these are the cardo is slightly tilted, so its outer edge is seen over here. So you can also try to bend something like this. Or maybe another variation is to paint everything exactly the same, but without the seed. So as if the seed is scoped out, you can simply show that by adding a darker shade of yellow inside and just imagine that the seed has been taken out. So that is also one version of the avocado that you can try to take this alphabet. I realize that this woman's lab cart. So yeah. Okay. 9. Proj-2 Beetroot: Sketching: So in this section of the class, we've been colored, uh, be true together. Now, I chose this particular vegetable because it has a beautiful contrast of pink and purple against the really nice lush green leaves. So I think this combination looks really beautiful. And I really wanted to explore the pink and purple sheets in the class because over who has a beautiful collection of, of this particular Carlo family. And I really wanted to show some swatches and really demonstrate what we could do with these colors other than maybe flows. So I taught of exploring this vegetable in this section, how to paint a P Druet. I'm going to use a couple of shades of pink and purple. So I'm starting out with a very light shades of pink, which is going to be our base or the wash. And then I will move on to some darker shades of pinkish purple. And then the darkest shade is going to be slightly measurable niche, which is very close to Brown, but it still has a tinge of pink and purple to it. So these are the sheets that I'm going to use to paint the beet root. And then I'm going to use the same shades of darker greens which are used or near to pain, the avocado. So I'm going to use a couple of greens from this side to paint the leaves on the top. And then once we had done that, all the layering and blending, we will use our two pens, the white and the black one, to add some texture, add some details and make it look really fun and interesting. So let's start with the sketch. So instead of drawing the beet roots straight like this in the center of the paper. I'm just going to draw it a bit. So if I keep this v two like this, this is the direction in which I'm going to sketch it. So let's use this as our reference. Now the leaves are going to be somewhere here. So let's draw the b true towards the bottom part of the beach. And now the Vitro does not exactly circular it slightly. So I'm drawing a shape that's made close to an oval, okay? And then I'm going to extend the day laughter and keep it very thin. Then. I'm going to the ground. So that's going to be the head of the beat rude. And then we're going to show three leaves coming out from its head. The stems are just a bit thicker. And then I'm going to draw these curves to show the leaves of the beet root. I want to paint this, be Druitt in a realistic style, but keep my sketch lose and not referred to any particular image on the Internet to draw this be true. I'm just making a sketch on my own using this as my reference, like this. And then the Toward leaf, which is slightly overlapping with the second one. Ok, so this is pretty much the shape of Though, the truth that we want to color. Okay, so I'm just going to bring my sketch a bit closer to the camera so you can have a look at some a simple sketch. I just drew an extended the bottom portion of it and then add it three stems and three leaves branching out of it. So this is our sketch that we're going to color together. 10. Proj-2 Beetroot: Painting the Beetroot: Okay, so let's start with the lighter most riches. This post one known as rose pink. So I am going to use the Scholar and start applying it on the surface. Now there are two ways you could color this be true. You could either painted horizontally like this, slightly called strokes in this direction. All you could painted in a vertical circular way like this. I think when I start coloring, I'll probably use strokes that are like this because it gives me a better movement to my hand. And then when I'm adding that texture, I will probably use horizontal strokes. So let's see how that comes along. Let's start by placing our first column. Let's move on to the next, which is this, that reddish purple. So let's use the broad Chisholm side of it of the marker. And I'm just placing the scanner on top of the first. And then I'm going to go back and use the lighter shade to blended. And let's try to please the Scala. Towards the bottom side of the beet roots. From the sides are going to use the brush side of this marker and details. Let's go back to the previous shade, which is this one right here. And we're going to be true. She had radiance that we're actually able to see. So I'm not going to blend a b true does much. Just going to let the shades see-through. Then going back to the light pink again, the wave force cheat and then blending it again with it. I'm just starting to bring all the colors together but not blending it so much also. And then I'm going to use the slightly reddish Kano, which is called Rules red. It's got danger of red to it. So I'm just adding a bit of it from the sides. Then let's move on to the darkest shade, which is this one, like I said before, it has a hint of brown and red to it. It's very deep or which looks like this. And this one is actually from my chisel. So this marker has abroad Chisholm tape on one side and it's got a fine bullet on the other. So this is from my other connection, but I really thought that. The shade was made beautiful to include in this particular project. So I'm just going to use the bullet. And on the side for the bullet, like I said before, is very similar to a fine pen. Ok. Just and now I'm just going to use my gut feeling and this be true desert reference and just tried to blend and get the colors right. I feel that there is a lot of things on the side, so I'm just going to tone it down a bit. It's a bit more rosy right now. Okay. I think I'm quite happy without blending at this stage. So let's go ahead and quickly finish their leaves. And then we can add all the details. 11. Proj-2 Beetroot: Leaves, Stems, Veins: Now to start the leaves, I'm going to start by placing the lighter color First. Let's use this reference. Maybe I'm going to start with the light green here, which is called the yellow-green. It's just going to start placing the cologne, the sleeve. About this much portion. I'm going to use this and then blended with the green, which was this one. Using the brush tip. Blame the harsh age. The darkest green, which is the deep olive green. Okay, so that's our first leaf. So I'm pretty much going to use the same shades of green to paint the next two leaves are probably, make this one a bit more darker and maybe this one slightly more Docker on this side. So I'll just bring about that variation. But the basic bending process is exactly the same like how I showed you on the sleeve. So let's complete these two leaves and then work with all the details. I'm just going to do. Assuming that the pins out for the last one. I'm just going to draw. 12. Proj-2 Beetroot: Texture + Shadows: So those are the leaves. And now we've been using our bends to start working on all the details. The main force thing I want to do is to add the highlights on the sides of the beet root. So let's do that with our white pen. These are all the details of the shadows I'm using the exact same shapes that we used for the avocado. So I'm just going to Mm-hm. And that said, this is our b true. I think it's really looking vibrant and saturated. And that's the part that I like the most about it. Be 2D illustration that we just painted together. 13. Project Ideas: Okay, so we have pretty much covered all the blending techniques while we were painting the beet root and avocado. And I hope you were able to either paint along with me or note down all the tips to use your alcohol markers. So I wouldn't be very happy if you're able to do something like this and uploaded in your project gallery. Or you can also try out something different like this scattered that I'd been detour. So I started out with a sketch just as we did for the avocado and the beet root. So I drew a very job sketch and then I switched to a couple of shades of orange, think and read. And then using the exact blending techniques that we used earlier, I started learning the scattered with the lighter sheets and then progress towards the darker shades. And then at the end I added all the effects, the details, and a shadow around it. So the sequence of coloring or being done, this is exactly the same, but if you want, you can also try another fruit or vegetable and explore your blending style. 14. Important Tips + Conclusion: Before we wrap up this class, I would like to summarize some important points as takeaways that will help you while taking on the journey with alcohol markers. Let's have a look at them. Choose correct paper that is meant for alcohol markers to get best results. Do not use water kinda people, we'd take Shuang Green to a white ink wastage due to absorption by gotten people. Always use a plastic sheet or a thick card stock underneath the garment working page to prevent inbreeding onto the new page or any other surface below. Always use as watching method to avoid going back and forth between coloring and spending time to choose your markers every now and then. Use both the depths of the markers to achieve maximum results. Chiseled tip for big areas, brush tip for details and small Lydia's. It is up to you whether you prefer a brush tip or a bullet. In addition to the default is the blending process needs patients. So enjoy it even if it takes time. Make sure to blend while the Insert still wet. That can help you to get smoother and seamless blends? Well, that's pretty much what I had to share about my experience with alcohol and markers. I hope you enjoyed watching me explored this medium and I can't wait to read your feedback and reviews. Don't forget to upload your work in the project cadre below, so I can have a look at your beautiful work. Thank you for joining me today. I will see you again in my next class. Until then, keep creating.