Character Coloring with Copic Markers Course | Scott Harris | Skillshare

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Character Coloring with Copic Markers Course

teacher avatar Scott Harris, Painter and Illustrator

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

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

29 Lessons (2h 47m)
    • 1. Introduction to the Copic Course

      1:14
    • 2. Module 1.1: Types of Copics Markers

      5:48
    • 3. Module 1.2: Additional Copic Products

      4:45
    • 4. Module 1.3: Recommended starting Colors and Copic Markers

      5:32
    • 5. Module 1.4: Choosing the best Paper for Copic Markers

      15:19
    • 6. Module 1.5: Art Theory: Understanding Hue, Saturation and Value

      2:42
    • 7. Module 1.6: The Copic Color System and Copic Color Wheel

      3:33
    • 8. Module 2.1: Applying Flat Color Smoothly With Copic Markers

      2:46
    • 9. Module 2.2: Copic Marker Blending Fundamentals and Usage Nuances

      4:59
    • 10. Module 2.3: 2 Copic Marker Blending

      11:19
    • 11. Module 2.4: 3 Copic Marker Blending

      9:16
    • 12. Module 2.5: Choosing Copic markers that Blend

      3:02
    • 13. Module 2.6: Pens that work with Copic Markers

      13:37
    • 14. Module 3.1: Introduction to Copic Marker Core Techniques

      0:36
    • 15. Module 3.2: Working Light to Dark with Copic Markers

      6:25
    • 16. Module 3.3: Copic Marker Layering: Shading with a Copic Marker

      5:25
    • 17. Module 3.4: Copic Marker Layering: Shading with Multiple Copic Markers

      10:40
    • 18. Module 3.5: Copic Marker Layering: Shading with grey Copic Markers

      6:36
    • 19. Module 3.6: Using the Copic Colorless Blender for Error Correction

      2:46
    • 20. Module 3.7: Tip on Tip Color Mixing with Copic Markers

      6:08
    • 21. Module 3.8: Adding Patterns and Textures with the Copic Colorless Blender

      5:42
    • 22. Module 3.9: Using Copic Opaque White for Specular Highlights

      3:59
    • 23. Module 3.10: Enriching Shadows with Pencil Shading

      2:02
    • 24. Module 3.11: Softening lines with Color Pencil in Copic Art

      3:20
    • 25. Module 4.1: Cleaning your Copic Markers Well

      1:37
    • 26. Module 4.2 Refilling you Copic Markers with Copic Ink

      2:30
    • 27. Module 4.3: Replacing Copic Marker Nibs

      1:44
    • 28. Module 5.1: Gabrielle Demo Walkthrough

      23:13
    • 29. Conclusion

      0:40
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About This Class

With over 270,000 enrollments in my online courses, get ready to learn professionally, and efficiently, whether you are a beginner or an advanced student!

Character Coloring with Copic Markers Course is a fast and efficient way to learn to use the incredible, Japanese produced Copic Markers quickly and efficiently to color your character drawings and more. Whether you want to learn Copic Coloring for your Manga work or Comic Book coloring, Copic Markers are an amazing tool to color with.

This course is a 5 Module Copic Coloring Course that teaches you EVERYTHING you need to know to use and color with Copic Markers well.

Want to know which markers are best to start with? Or what paper allows for the best, smoothest blends? Would you like to be able to use Copic markers to bring your characters or worlds to life? This course has you covered - and within just a few hours, you'll be a Copic Marker expert. In concise, easy to follow lessons, you'll learn everything, from the tools, to blending effectively, to the essential high-level techniques used by professionals everyday to get the most out of their Copic Markers.

Learn Efficiently

I get to the point, so you can get to doing what you love! Once you have your first markers, you'll be ready to use them WELL in no time!

Take your Art Skills to the Next Level

Copic Markers and the coloring workflow used with them is a great way to understand lighting and coloring concepts from a traditional mediums perspective. Don't just have fun using them, level up your art skills too!

Learn and Use the Most Advanced Techniques

This course teaches you very quickly, how to use your Copic markers to the highest levels, and introduces you to advanced Copic Marker Techniques including Tip-on-tip blending, Pencil line softening, multiple marker blending, colorless blender usage, and much more!

Meet Your Teacher

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Scott Harris

Painter and Illustrator

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Transcripts

1. Introduction to the Copic Course : Hello and welcome to the ultimate Copic marker course. My name is Scott Harris. I'm an illustrator, a painter, and a concept artist. In this course, I've tried to give you a core fundamental knowledge of what you need to know, as well as advanced techniques. I want to equip you to being able to use Copic markers well, to the maximum potential that you fully understand the nature of the medium. And then you are not just learning how to use the tips and tricks that you really truly understand. Cobit markers, how they work, the COVID color system, and everything involved with using Copic markers to a professional level. This course is taught as if you are in a class with me. So we're going to have a really great time learning together how to use these markers and how to get the most out of your cortex. It shouldn't take you long to work through most of the modules. But if at anytime you want to see full length or time-lapse commentator demos, go ahead to module five and you'll be able to watch full pieces being colored from start to finish. Again, my goal has been to equip you quickly and efficiently so that you can get to using your Copic markers well, very quickly. All right, I'm excited to see you in the course. I hope you enjoyed the course. I've trimmed the fat and cut the fluff so that we can give you the core hard skills. You need to get started as soon as possible. Let's jump right in. 2. Module 1.1: Types of Copics Markers: Welcome to the first lesson of this module. And in this lesson we are going to be taking a look at the types of Copic markers available. And we're going to start off with the copic classic market. And the copic classic NACA has 214 colors in its range. It's a square barreled mocker. It holds the most ink of the markets. And it has a chisel tip on one end, which is great for flat falls, as well as a precision tip on the other end. And if you pay attention to the design of the lids because of the gray outer plastic of the precision tip area, you can actually tell, which is very easily based on the shadow of the groove on the cap. So you know, with precision tip is now the precision to really be more for writing. We have the color information as well as the color name on top and will of course go into understanding this color system later in the course. And that is in effect the copic classic market. Now, typically the copic classic marker has kind of become second best to the Copic Sketch, which is the next one we'll look at, which are really the main kopecks for your crafting, for your mango artwork, for your stamping and things like that. So the copic classic though, was the original market. And also you can exchange the chisel tip out for a brush tip, which we're going to look at the sketch mock-up next. Now, the brush tip is a little bit smaller than the classic. So keep that in mind. The Copic sketch Marker, which is really the epitome of Copic markers these days. There are 358 colors in this series, and it really is by far the most popular marker. It has an ovular barrel. Of course, we have the color information there, the color name as well. And the difference between the sketch and the classic in the tips is primarily that on the one side mocked by this gray line here, we have the brush tip, which looks like that. And the brush tip is great. It has a bit of flex to it. It's awesome for doing color falls, for blending, for kind of painting with the Copic markers. So really this is the market that most people go for, stiffening the most popular and they're great. They're really, really, really nice to use. That super brush tip is what could pick calls it. And then on the other hand, we have a chisel tip and this is grateful flat falls as well. And that is your Copic Sketch mark. And now the barrel is a little less in cc's then V copic classic, so it holds a little bit less ink, but it's a great marker and it, It's ovular shape also stops it from rolling on the table. Next, we have the Copic markers. Now the chow are really the entry point into Copic markers. They're cheaper, they're barrel holds less ink, but they're very similar to sketch markers in that they have the super brush tip on the one end, which is really the tip we're looking for, for most of our craft work, as well as a chisel tip on the other end, right? The medium chisel rather than medium broad as they call it. Now, unfortunately, the channels do not have the color information on their caps. This can make it a little bit difficult to find the color that you're looking for, but they have it printed on the barrel as well so you can look at the barrel and know what it is. Now, some people do make their own little stickers with the color information, particularly the code here B24, which they put on to help them find their back chars when they have them stacked vertically or horizontally into a shelf. Then we have the copic wide market. Now the Copic Wide Marker has 36 colors. This is an empty marker, so there's no ink. And this one, you can buy empty markers of all of these mock-ups so you can mix your own colors. And effectively you can see that the copic wide marker has a very, very extra abroad, extra wide tibia for doing massive areas of color fills great for doing backgrounds and things like that, although not entirely necessary for your general use. But it is great if you want to get broad strokes in the background. So that is your Copic Wide mockup. And last but not least, we have Copic of various ink. The Copic various inks, basically our rifles, right? You can refill your markers to a certain quantity based on the market up on average ten to 15 times you could refill a single mock-up off one of these ink bottles. So they really are good value and you don't want to keep rebinding mockers because Copic markers are expensive. So once your marker runs it'll dry. Simply get the various ink. It has the code and the color name on the lid. And you can get this various angry full and do an inquiry format at the end of the course, talk about how to refill your inks. So we definitely look at copic maintenance and inquiry filling at the end of the course. But just know that these are available and you pretty much need these in the beginning because you'll find that the markets have a pretty good laugh spin to them. And the various inks, of course, come in 358 colors, which are the full color range of the Copic markers themselves. Now, let's just go through those color ranges. Once again, your copic classic markers have 214 colors in their range. Sketch has the full 358 colors. Copic Ciao has a 180 colors. And then we have wide that has 36 colors. And then of course, the banks that also cover the entire 358 color age. So these are the tops of Copic markers that you're looking at buying when you want to get into kopecks and start using kopecks, my recommendation would be to start with Copic sketch or Copic Ciao. If you're intending to build out a full collection one day, I would definitely recommend sketch for the long term. That is the Copic marker range. I hope you've enjoyed this lesson and I'll see you in the next lesson. 3. Module 1.2: Additional Copic Products: Let's now take a look at other products from the company that produces codec that compliment your usage of the markers. It started the top lift with the Copic multiline are SP. Now, these are multiline are pins in campaigns that come in a variety of colors. And they are really non smudging, non smearing, multilanguage. So when you wanna do not's into lines, these are the paints to use. They won't smear or mix with your kopecks when you're blending or coloring over them. These particular ones have a exchangeable ink cartridge. So when you run out of your ink, you can simply take it out, pop another one back in, and you don't have to buy a brand new pin. And they have an element in body. So they're really nice quality and they're really nice to use. And they come in multiple sizes, including a brush pin as well. And these are the cubic multiline ASPs, as it says, on the barrel water and cubic proof, and it uses eight pigment ink. All right, Next we have the, let's call them disposable multi liners. They're non-refundable. They're pretty much do the same job. You have your different sizes and nib sizes there. Again, they're inking and they come in many different sizes. So these are a little bit cheaper because of course they're made entirely of plastic. They do the same job though, and they work just as great. They weren't smear and they use the same ink. Then we have the Copic gas and feudal brush pin. So let's take a look at this. It's a plastic body brush pin and it has a very nice brush to it. And this is good for getting very nice, thick, painterly looking strokes In your inks as a very much an inking type of tool. It's very nice. This is just another great product to compliment your usage of kopecks when you want that kind of look, right? And then we have nib replacements for your markers themselves. This is just one example. There are a bunch of different nibs. You can buy. This just again, the mockers have empty versions that you can then take the various inks. And you can of course, a mix up your own colors and produce your own unique market colors as well. So even though the range only has 358 colors, there are empty pins that you can buy, empty markers that you can buy, that you can mix up your own colors and create your own unique blends. Then we have copic, opaque white, and you've got two versions of it here. Essentially it's the same product. It's a zinc based water-based paint, basically, that doesn't yellow over time. And this is used to add white highlights on top of your coping markets, usually at the end of a workflow, this particular opaque white bubble comes with a built-in fun brush. So it has a very thin brush. Little kind of like brushed up almost like a nail brush, but even thinner, that lets you do find a detailing. And then of course this is a little tub of it. A lot of people like to use the pencil method with a dip the pencil into the tub and use the tip of a sharp pencil to the paint those white spots on. For example, when you want to highlight eyes or add particular highlights to the scale of the objects could pick. Pick white is really, really a great product for doing those kind of highlights. And then we have the spin ups for your multiline is, as well as just an example of that exchangeable ink cartridge. And in Copic also makes their own range of paper selections. And we're gonna go into papers soon in terms of the various brands in the various types of paper that are optimal for coping. But nonetheless, cubic papers, elections, they have sketchbooks, they have papers. Here, we have a custom paper here, which is a 420 sheets, a 150 GSM, very nice for blending that has good coloring properties. So Copic does make a range of different paper products, which I would say pretty much the best that you can use when you want to color with your conflicts. Because we don't use just the ordinary paper. You can, but we'll talk about soon why you wouldn't want to use ordinary paper when blending your kopecks, but nevertheless know that they have sketchbooks and paper varieties available. So definitely take a look at your stationery shop. We are arts and crafts retail at to see what there is available. And these are some of the extra products that are useful to you when you're using kopecks to make sure that you can get nice clean lines that don't smear, replace nibs in certain pain brands and things when you need to do nib replacement or maybe you've messed up in it, can mix your own markers and colors with the empty markers copic wants for highlights and a few of the extra products in the range. That's it for this lesson, and I'll see you in the next lesson. 4. Module 1.3: Recommended starting Colors and Copic Markers: In this lesson, we're going to take a look at the recommended starting colors when you're first getting into your Copic markers. Now something that's pretty important is you don't want to go into your stationary shop or your aunt craft store and go crazy. And trust me, I've been there. You're going to end up getting duplicate markers. You're going to buy stuff in weird orders that don't really work for blending. You need to hold back and him yet, okay? Don't bind cup picks randomly. Don't go crazy in your soul. All right? The first important thing to know is the Copic color system, and we're going to cover that in this module. By the end of this module, you'll understand how the Copic color system works. And when you understand that system, you're way better informed in terms of what markers you want to buy in debt so that you understand how they blend and work together. Now, you'll also want to choose the type of milk you want to collect in the beginning and the type of market that you want to use long-term. And I'm going to make some recommendations to, depending on whether you go with chow or whether you go with sketch as to which is the better route long-term to go for. Now, on the left-hand side we have 12 colors, and the same 12 colors are replicated on the right-hand side with the Copic Sketch monkeys. Copic markers are great. If you're on a tight budget that you have to remember that the char line only has a 180 of the 358 colors in it. So long-term, you're going to be limited to your color choice in these types of markets. Conversely, Copic Sketch markers have the full 358 Color Range. Another disadvantage to chow is that the numbers aren't on the caps. Alright? And you might think that that is kind of negligible. But the truth is when you're using Copic markers, you tend to pick and choose colors a lot, especially when you're wanting to blend. And typically your markers are stored kind of horizontally or vertically. And being able to quickly see the code and the number of the color that you want becomes a very, very important to such an extent that hobbyists craft as stamp is manga artist that they have created their own little labels for their child states that they stick onto the ends of the caps so that they can easily see that if you want to save yourself the trouble of doing that, I would definitely say good sketch. So my key recommendation is to start with Sketch that are a little bit more expensive, but you have the full color range. You have a bigger barrel. You have the same nibs between the two, but you have the very important printing of the number on the caps. And this is quite critical. So keep these recommendations in mind. Now, these colors here we have 12 colors. And you might think yourself, while these kind of random and a little bit desaturated, you would be absolutely shocked if you understood and knew how far you could take just these 12 colors, then you'll see a lot of them aren't lot of colors. We also have a cool gray C2 in the chat, and we also have the colorless blender. So technically, we only have ten actual colors. Remember, Copic markers can be applied in layers on top of each other to darken in saturate the color. In addition, you can mix the colors. So when you consider that, you, like I said, you would be surprised what you can achieve with just these 12 Mockus. In fact, you can achieve most reasonable color schemes with just these 12. You might then say, well then why are there 358 colors? Well, more colors is more convenience, more choice, more nuanced, and more opportunity for mixing. But as a starting point and also so that you don't blow all the money you have on buying a hundreds of Copic markers. These 12 are a great place to start and I recommend these specific colors. Now once again, you will know how the Copic color system works and understand what these numbers and letters mean by the end of this module, which is really soon in the next 34 lessons, when you do, you'll be able to buy better. So there is also a Buying Guide for you that is attached to the resources at the end of this module, use that buying guide to help you choose what colors to buy, what ordered to by your colors in and also to give you advice and extra insights on the different market systems. Now you may notice that I have not included the copic classic Mach is here. And the reason for that is because of the tip differences where you do not have the super brushing up on a classic like you do on the sketch in China, you have the precision that and that's not super useful for stamping, coloring, manga coloring, coloring your art. And it's doing great shading and things like that. That tip is more for rotting and more precision cons of mocking, right? So you really don't want to spend extra money doing mass number replacement on your copic classic collection. The main advantage there being that the barrel does hold more ink overall, but they kind of Square and they're a little bit chunkier to hold. I would definitely recommend sketch, alright, so those are my recommendations for the starting colors. You can see the codes over here do refer to the Copic buying guide, which will help you, which will list these markers, but will also help you further expand and grow your collection in a logical way using the carpet coloring system. I hope that this lesson has been useful to you and I'll see you in the next lesson. 5. Module 1.4: Choosing the best Paper for Copic Markers: In this lesson, we're going to take a look at appropriate paper types to use when utilizing your Copic markers. Now, not all papers are suitable for Copic markers. And we're going to explore a few different paper types to see what is and isn't going to work well for you. I'm going to be using these three colors, blue double 0, blue O2, and blue O4. And these have some nice stops along the way so we can test blending on the different types of papers to start off with, let's take a look at some standard copy paper. I have a few sheets of copy paper here. Whenever you're using Copic markers, I would advise to always put a sheet of paper underneath, maybe even two underneath that particular sheet just to stop ink when you're over flooding the page or when you're really getting deep into your coloring there, that it doesn't go through and mess up your table or mess up your book or anything that's underneath the paper. So always use an extra sheet. All right, let's take a look at normal copy paper. Now. I wouldn't recommend normal copy paper, right? Because it's very fun. And it doesn't allow you to really layer too much because of the fibers in the paper absorb only so much of the marker, right? They absorb only so much of the marker. I'm going to try and do a kind of a blend here straight into, from 000 into four. And what I'll do is just bring in 00 again. And I'm just softening up that edge. And you can see it starts to get a very nice soft edge and a nice blend bear. Let's see what this effect has on this particular page. All right, immediately you can see we're going almost pretty much straight through the page. It looks almost exactly like the opposite of it. And we bled through here. Now, copy paper is actually really nice. It's really want, it's grown a great smooth surface. And again, it's key issue is they can't absorb too much. What happens with copy paper or after a while is when you want to kind of soften edges more, we'll go in more. What you'll end up doing is you'll end up just pushing the ink around because it has only so much grams per square meter. And which is the GSM rating of paper, copy paper is about 80 GSM on average. So it's only got 80 grams per square meter of material for the ink to go into. And so eventually you just end up moving this same ink around and it leaves kind of weird streaks. And it will also cause the paper, It's kinda wrinkled a little bit. All right, so let's just kinda get in close there and see what's happening on the coffee FIFA. Alright, so a lot of bleed through and copy paper. Look if it's all you have used copy paper. But anyway, let's move on to our next paper top. This one I definitely don't recommend for financial reasons, is kind of your artistic style paper. This is 300 GSM. It has quite a thick texture to it. Definitely nice for watercolors, right? But when you're dealing with kopecks, if you have a 200 GSM, that is this rough, basically, this thing is going to suck up every last drop of your marker as you're using it. So they tend to use a lot of inks. So let me kind of get a blend going here. Sets be 000. We'll move this into P two. And you can see it has a quote, anosmia, the application when you first go on with the marker. And I'm just doing some really quick Valencia. And this is b 04. And then a technique that we'll cover later, but I'll mention it now is as I do the layers, I go back with the previously used market to get the blend nice and smooth. And I'm going to go now to be 000 and use this B here, going into the blue 002 and really getting the Incan there to get it to take the edge away. And you can even use the lighter color over all of the colors just to kind of enhance the blames a little bit more. So the texture is great, right? It looks really nice and the blend is pretty good. You really do see that texture coming through there, right? But the problem is that this paper is excellent at sucking macaca ink. And really, I think on average they say that you can get about 2.5 a full pages per sketch mock-up on average, something like that, right? 2.5 A4 pages on average of full-color, I would say you would probably get at most one page with this top of paper, 200 GSM paper. It's very thick. And the roughness means that it's really going to suck all your marker ink right out of the market. So not that great. The blends, okay, It's a bit textured. But Daphne, I don't think we want to use this kind of paper, so try to avoid from this paper unless you really want a textured look. But now you know the advantages and disadvantages of this kind of paper. Next up we have what is actually labeled as market paper. Now, this is 70 GSM. The market won't bleed through this. And it'll, it'll certainly be through and showing the other side, but it won't lead through the other pages. But it's very thin and it's not really that great to work on in general, right? So let's take a look at, let's say a double blend here will go from 0 to 204. And just see how this paper reacts. As you can see immediately, such a nice smooth effect with the ink coming out, right? And as you can see how being quite liberal with my usage and very kind of aggressive with the mockers. Don't be shy really like don't be too dainty with the markers, right? So there's good ink absorption here like I can feel it, it's very smooth. But what you're going to notice is kind of the flimsiest of this paper. Retracts detract should I say, from the ability to really use it for good work, it's very flimsy. And also because it's 70 GSM and it's very thin, it also has a limitation, just like copy a paper in terms of how much ink can be absorbed before you start moving the ink across the patch. The blend is very nice. The smoothness of the incus, very nice. All right. We're going to see that it has its limitations and I'll show you the ink moving around just knows well. So you can see no residue on the other side. It doesn't go through it one go through on paper that is labeled as macaca paper. But it's very, very thin and flimsy, and it's also extremely transparent paper which is not always suitable. You're really always wanted to be super transparent. Or at, so if I use, let's say B for again, we're going to start seeing that though there is no bleed through, we just end up just moving the marker around like we can't. We have a limitation as to how dark we can go over? Like it's still weight here, so it looks really dark. But you can, you can actually see the Incas just kind of floating on the surface now. And it's just going to, we're just moving ink around. Bright look at the edges there of that as I move the anchor around, maybe bring this closer to the camera so you can see that. And so that's one of the reasons this paper's not that suitable, right? It's just, it's great. It doesn't bleed through. It's got such a nice smooth finish. Even the texture on the dry parts is very nice. But we can only go so far in terms of layering the CAPEX. And when you want to take your kopecks far and you want to get a lot out of a single code book by layering for different values rights to bring it to darker or lighter values by using less or more or less, this paper is not going to be suitable. Mole skin paper, slightly yellow paper, not too different from your standard copy paper. And a lot of ways, let's do a triple blend here. And we'll just see what happens with this. So you can see as it goes on, don't if you can notice that from that distance, the texture before it dries, it's pretty rough. Runs. So you can see it's kind of rough, but as it dries, it gets smoothed. And this is something I've noticed specifically with mole skins paper, how the texture comes out very rough in the beginning, right? But kind of as the ink settles into the paper, it gets very, very smooth. All right, so let's get our three blends going here. Just being very liberal with us. And I'm going to blend it down and we will cover this in depth. Bunch of blending techniques coming up. Rush. Just really trying to soften the edges between our three values here. Just to get a nice blend going. Right? So it applies very roughly. And dries very smoothly. Lauren, secular. And we have a lot of bleed happening, right. And so we have kind of less of a situation that we had with the marker pad in terms of it floating on the top because the mockup pads not going to allow the ink to move through it. But we still have that issue of the low Graham and write grams per square meter, the thickness of the paper. So it's still a bit thin, so it just goes straight through to the other sheet, right? And even this one is beating through a little bit here. So also not really the best solution. That's not to say you can't use any of these paper tapes. You certainly can. If you want to use kopecks in your mouth, skin, and plenty of people do, including myself, you'll want to grab a sheet of paper and just place it underneath something. Hopefully that's bleed proof, maybe mock paper or thicker GSM paper just to stop it from bleeding through. But of course, you won't be able to draw on the other side of the page or do anything. I got the setup page because you're going to have this bleed through it. So that is mole skin paper for you. And how it reacts. It does leave kind of a slant need grainy texture to it. Copier paper tends to do something a bit similar as well, but sometimes that really just adds to the piece, right? That's not if it's not all bad. All right. Now let's look at the papers that I definitely think you should consider using when you want to color with your Copic markers. So typically, when you go to your art and craft store, your stationery store, you're going to find paper labeled as blending card. Now this is a local brand from my local art store. And it works pretty well. It's 250 GSM, so it's nice and thick. It can hold a lot of inks and I can build up a lot of layers. And it also is very white and very smooth. That allows me to get those nice smooth blends. Let's take a look at how this works. So here I have two sheets, one underneath just to make sure that I don't make my table blue. And we're going to start blending on this local blending card that is 250 grams per square meter, so it's nice and thick. Let's take a look at what blending card, which is the optimum type of paper we want to use for kopecks looks like when we start doing some limbs. So we've laid down these blues are 0 and coming in with the blue 0 to here. And you can kind of hear that squeaking of the market. That's a good sign. It, It's kind of how you know, you're using Good paper, good LinkedIn, God has some blending using the blender with the lighter color going into us. And then I'm going to move into blues. There were four. Just let it set to write the page. And then we'll come back with blue 0 to two lane that edge a little bit, have a nice soft blamed across that area. And then to finish off, I'm going to go back to blue 000. And I'm gonna do some blue 000 across the entire blend. All right, So blending call off the bat would get very nice, smooth blends for a good ability to soften the edges when you have hard edges from different values because the paper can absorb so much ink. The more ink that is absorbed into certain types of blending card, the more texture you get, right, and you're probably never going to escape some degree of texture or other, simply because that's how paper is made. It has a certain level of texture to it. Let's take a look at the bleed through. So it comes through a little bit. But typically it doesn't bleed all the way through to the other side of the page because it's very thick. This isn't particular is quite thick at 250 years in. I can see it's kind of like almost hitting into cardboard territory. But the colors are vibrant and there's plenty of GSM for the ink to move around it. So that is our local blending COD or off-brand Winnicott, if you want to call it that. Next, we're gonna take a look at copic official paper and how hit handles the Copic markers. Now we're going to use Copic paper selections. The custom paper version, you can see there is 150 grams squared per meter. It's A4 size and they're 20 sheets in this pack. And at the bottom there's actually little grid that says smoothness level, thickness level, and a whiteness level, since it's good for coloring and good for pings as well. So we're going to see how the official copy paper stands up to using on their own mockups. Using the double 0. Again, we're going to come in with our same taste blending. And I'm just going to be fairly liberal with this. It's got a very smooth application at the start. Then bringing be R2, right? And go back to be 00 here. It's just to blame that edge. Now this is a 150 grams squared per meter. So it is a bit thinner than the local glinting card that I had. The color really applies very thin, the air, the finish is somewhat less textured on the actual blend. And I would assume that's because they're using different materials in the corporate paper compared to the local paper. And here's our B four. You're just going to let that saturate into the page there. And I'm going to come back with B two to blend the edge. And I'm going to come back with B 0 just to finish off the final blending here. And so what we have with the Copic paper is very smooth blending and a minimal texture on the paper. It does bleed through to some extinct, It's not bleed proof we can see here that it's bled through. That could also be due to the GSM level. It is 150 GSM, which is still pretty good. It's not quite cardboard, but it's a nice, thick piece of paper. It's extremely smooth and your blends come out extremely smoothly as well. And so my verdict is and has always been, if you want to get the best blending, use blending card. But the custom paper one is really a good all-round one for achieving those nice smooth blends between your Copic markers. So LinkedIn card, That's the paper you want to use. And that's the end of the lesson. I'll see you in the next lesson. 6. Module 1.5: Art Theory: Understanding Hue, Saturation and Value: In order to understand the coppa color system, it's a good idea for us to understand general color theory. First, in this lesson, we're going to be taking a look at hue, saturation, and value. Q represents the frequency range of a colour. In front of us, we have a very classical style color wheel that artists use to understand the color ranges. We have yellow, red, magenta, blue, cyan, and green moving clockwise around the color wheel. Take a note of the intermediary colors. Yellow moves into orange. Orange and to read, written to pink, Thinking tm again to begin to into purple and so on. Q represents the spectrum of colors that we can choose from. And it is the purest form of what people would call color. Though, color is made up of V3 parts of hue, saturation and value. Saturation is how color rich a color is. A heavily saturated color, is very rich and bright in that particular hue. A less saturated color has more gray attitude and is less color rich. We can understand saturation from a scale of nine to have more gray in it to 0 that has less gray in it. The less gray, the more saturated, the more gray, the less saturated. Value refers to the brightness or the darkness of a particular color. Value is extremely important art for helping the viewer differentiate between different objects by having them at different values. Values is 0 to three are considered light tones. 456 are considered mid-tones. 7, 8, 9, and 10 are considered shadow tones or dark tones. The value scale is just an art representation and simplification of the values in reality, as is the Saturation scale and even the hue color wheel. In reality, there are billions, if not trillions of colors and different combinations of use, saturation and values. In art, 0 or 0% of value indicates the brightest possible color in a scene or on a character within your creative works. And 100% or ten on the value scale indicates the Docker stock the most blackest black colors then on made up of a given hue, a particular level of saturation, and at a particular brightness level of value. Now that we know how hue, saturation and value work to create a given color. Let's take a look at the Copic color system. I'll see you in the next lesson. 7. Module 1.6: The Copic Color System and Copic Color Wheel: Now that you understand color theory, we can better understand the Copic color system. This Copic color chart is typically available for free near the Copic markers in your stationary or art supply store. And the front cover here lists the Copic color system and all the colors available. Let's take a look at the system. First we have the color families, and there are 10 color families. We have the Earth family, the red violet family, red, yellow, red, yellow, yellow green, green, blue green, blue, blue, violet and violet. Then in the inner ring, we have various gray tones. The intones, which are the neutral grays, the sea tones which showed the coup grace. The t terms which are the toner graze very similar to the neutral grays and then need w tones, which are the warm grays. And then we have a few recent Copic markers. In a nutshell, you can see how this relates somewhat to our color wheel moving from yellows, greens, blues, violets, and reds. The color of every Copic marker is indicated firstly by the letters of the color family, followed by the saturation number, and then the value number. The saturation number works from a scale of 0 most saturated to nine, least saturated. And the value scale works from a system of 0, lightest value, 29, darkest value. Taking a look at the Manchus I'm holding, you can see that we have yellow at a saturation of 0, which means it's a very broad yellow and a value of two, which means it's a lighter tone value. For example, we have blue 02, which would be a very bright, saturated blue with a saturation number of 0 and also a low value of two. If we look at the Carl R 35, we know that it is a red marker with a saturation of three, so it's fairly bright and a value of five, It's definitely a midtone and market. Therefore, the coppa color system will always have the letters for the color family, the saturation number, and the value number. You might notice that this differs when you're dealing with, for example, the colorless blender, which is simply 0. Or when you're looking at the cool tonal, great tone Mockus, which will have just the saturation number. For example, C2 is a cool tone with a number 2 for its value. Certain markers like red, violet, triple 0 have additional zeros indicating that they're moving into increasing levels of lightness, but they'll also quite saturated. You will see triple zeros and even quadruples zeros for exceedingly light perfect market colors. Now that you have a good idea of how the Copic color system works, and you're able to identify the color family, the saturation level, and especially the value of the market. You'll be able to make better decisions when it comes to choosing which Copic markers blend well with each other. In the next module, we're going to take a look at blending, as well as how you can choose colors that blend well together. And I don't leave too stark contrasts or edges between the different colors as you're trying to make smooth and soft blends. I'll see you in the next module. 8. Module 2.1: Applying Flat Color Smoothly With Copic Markers: In this lesson, we're going to be taking a very quick look at basic marker application. And the first thing that we want to remember is that we want to avoid quick and streaky application. So if we're kind of applying the market very quickly like this, we're going to have these horrible streaks and we really don't want that. We want to use the benefits of Copic markers, which is achieving nice, smooth false. So the first way to achieve that is to take your time and really saturate the page with the marker and let it seep into the actual paper. Something important to remember with Copic markers, that they apply darker at first because the ink is still wet. But when you let them rest awhile and leave them to dry, you'll see that edges get smooth and you also get a nice flat full. And of course, the dried color will be a little lighter than the initial application. You notice this specifically with landa markers, they apply as almost gray sometimes that is just the wet alcohol, but when it evaporates, you're left with the nice rich, color rich pigment. So a nice consistent stroke application, they will give you a nice smooth full. Another popular way to apply a Copic markers is to use the circle method and this gives you great coverage. So you'll see here you get really nice, smooth coverage. Sometimes where areas don't get covered, you'll get a bit of a cloudy type of effect, but you can simply just go over those areas again, we saturate the page to get that nice smooth flow. Another thing to keep in mind with Copic markers is that when you apply them, the darkness of the application is often dependent on how hard you're pressing. If you press harder on your brush, going to saturate the page faster. Of course, if you press lighter on the brush tip, you are going to saturate the page. It's more slowly and therefore you'll get a lighter stroke. So I would always recommend having more of a lighter touch in general, when you're applying your markers so that you have more control over the pigment. You might want to have a slightly lighter finish writing and not such a dark finish. And so those are the basics of market application. The key thing we want to remember is that we don't want to apply our markers to aggressively in too quickly in this streaky kind of fashion because it doesn't help us full regions and it's really painful to fix these streets. You end up using a lot of marker to saturate the page to get rid of the streets. And that is it for this basic mock application lesson. I'll see you in the next lesson. 9. Module 2.2: Copic Marker Blending Fundamentals and Usage Nuances: Now let's take a look at COVID mock-up lending and usage nuances. And the first thing to remember with blending is before you do any blends in your work and want to get a small piece of blending card and test out the blending of the Mach is that you're wanting to blend together, whether they're in the same color family, whether they have big or small value differences, always test first. Copic markers tends to blend differently based on their color, family, based on their values, but also based on the paper tap, not all paper types. Linda the same, even if you have blending hard blending card from one manufacturer may blend the colors slightly differently to another manufacturer. And they are just so many different effectors that testing on a bleeding heart first is very important. So always test your blends first before you want to try and do any kind of blending. Alright, let's get into the blending here. And what we want to do is remember the primary blending rule, and that is to go back to the previous latter color. So over here I have blue 002 and BlueJ 0, 4. And we're gonna do a simple two-color blend, keeping in mind some key rules, right? So first of all, we're going to apply it the lightest color first. And that is one of our key rules. We tend to want to work from light to dark when we're doing blends and when we're coloring in general. So I'm going to color a small area here with this blue, this blue 02. Then I'm going to move into blue 04. Keep in mind that the market tends to apply slightly darker at first because the ink is still wet. And then I'm going to come back into this area again with my lighter color, which is 0, 2. Now the same rule applies when you're using multiple different Mach is maybe you're doing a full color blend where you go back to the lighter color, especially over that blamed area. And you can even fill it over the entire color range to help you achieve a smooth blend without such a harsh edge to the blender bowl region writes to that middle region where the values change. So you always want to go back to the lighter color. If I were doing before colors, I would do color one, color two, back to color, one to blend, color, three, back to color to blend color fought back to color three to blend. Of course, we're gonna take a look at this in the next few lessons. But still keep in mind, you always want to do the kind of blending and Andrew removal with the lighter color. And you can see as the ink dries here, how much more smooth blend gets, you'll see over time is a dryers even more and get an even smoother blend over to them. Now something that is particularly critical and you'll get better at this over time, is to use a wet on wet methodology, right? So I'm going to take the 0 to here. And I wanted to try and achieve my blends while the alcohol is nice and wet. Right now, the reason for this is because it's seeping into the fibers of the paper when it's wet. And I am mixing two colors together, the alcohol is actually going to mix in the page. It's just going to pull together and mix in the page. And so being faster and more accurate, which will come with time. But it's pretty important to getting those nice smooth blends. Of course, you can do a bunch of practicing on this to make sure that you're really feeling it out, getting that wet on wet blend. That's not to say you can't blame the markers when they're somewhat dry. You can blend ability is significantly decreased. Of course, when you're putting more alcohol from the mock or more ink into the page because they're alcohol-based markers, you are always going to have some effect of waiting the existing try alcohol that's in the paper. And you will always be able to do some kind of bleeding even if it's fairly drawn because you're kind of reigniting that draws dye in the paper fibers. But keep in mind when and where does the preferred way you want to work. So you want to kind of do small regions by regions and work as quickly and as accurately as you can. That said, don't panic, don't freak out. I also don't want you guys to be so overwhelmed with wanting to work with and widths and quickly and accurately that you're going to kind of over panic. It's just going to be a terrible experience. We know just do the best you can speed and your accuracy will come over Tom. But do try to work wet on wet when you're using Copic markers for blending. So recapping this lesson, you always want to test your blends on blending card. First. You wanted to always use the lighter color, the previous lighter color to blend into the darker color that you're using, the darker valued color. You want to try and work on wet and wet and be as fast and accurate as possible to achieve the smoothest blends. Don't forget that the mark is applying more darkly the first time you use them and at the blends gets softer over time as the ink dries. That's it for this lesson. And I'll see you in the next lesson. 10. Module 2.3: 2 Copic Marker Blending: In this lesson, we're now going to take a look at blending two colors, will look at two color blends. And as we did in the previous lesson, I'm going to use blue 02 in blue 0 for, as well as a number of other colors. Popular colors show you how they blend together and just do some examples of two-color blames. Now, you might notice that the value here is a single step away too. We must 3 and we're using for in terms of the blues era 2 to the blues era for and you often want to do 1, 2, even sometimes three steps away in terms of a valid values when you wanna do your blending, whether it's two colors or more. But again, you always, always, always want to test on your blending test card to make sure that the blends actually work. Because like I said previously, you will find that it doesn't always work out how you think it's going to work. Just because the numbers are, the steps between your value numbers are different. All right, so let's do the blues again and take a look at some blending their wrist start off with a circular blend with the blue 0 to here. And just do a kind of a small circular region like this. Trying to work quickly and we don't wait till I remember the edges always a little bit more staff while the Inca stall and drying that as the edge between the two values. I'm going back to blue 0 to here, to just cover that area. And you can't cover the entire area if you want to with a lighter color, we can just cut cut of color am just a specific area, thereby the two values. And you can already see that we've got a very smooth blend there. And it will actually smooth out and become more cloudy and smooth as it dries. All right, let's take a look at some different color ranges here. Using a red 83 into red 85, right? We didn't 335 might notice that this marker is black dotted. Confuse you. It's just a black barrel for the 25th anniversary of Copic Sketch that they released a few years back. All right, so let's get our red 83 here. And I'll do a more vertical stroke application of this particular one. Grab my red Eddie five. So two great colors that tends to blend well together. Generally speaking, paper dependent, of course. I'm going to come back in again. My red 83. These markers will be definitely of the current that has a more stock edge in the beginning. But you'll see that as it dries, it smooths out. And of course, the videos are in real-time. So sometimes we have to just let it dry out a little bit and we can come back and look at that lend as we move through the rest of the colors. Let's look at violet 04 into violet 17. So we have a slight saturation change with these markers. Let's start with our lighter marker. While at 0 4, I'll do a circular blend over here. So you could application. Like I always say, don't be shy when you're using your markers. Just go for it and learn as you go. You can't put your hope into fall certainties. So just learn as you go and enjoy the process, and don't worry too much about your mistakes. Just keep going and you'll get better over time. You can see Dane quite a stock color range to go to in terms of jumping from four to seven, right? We're going to stops away there. So for missing five, we're missing six, and then we're going in to seven. And again it's quite stark, but as it dries, it does smooth out. Look at how the blend has come now with v, RED 83 into the red 85, it's really smooth that out nicely. Let's do a vertical blend with V into V 17 by 17 and see how that turns out, we'll put this one over here, starting with our lightest color here, v form. This is more of a lighter touch application. And bringing in the V1 seven here. And then going back in again with a lighter color. To get that area. Lending asking. Sometimes you will notice that when the ink mixtures a particular way, you get a slightly lighter zone here. Well, before you attempt to fix that, where you want to add a more of that darker value, I would say just let it dry a little bit in just to see what it looks like because it can be quite deceptive. You can see already that the value is fading to a little bit darker as it dries. But you can go in with your darker value and add a little bit more of the dark value, overreached, kind of covered up. Just be careful that you don't go too close to your blamed the area. Because you want to keep that nice, smooth blend between the two zones. And we'll let that dry. Now let's move onto very popular colors for Caucasian skin tones and lighter skin tones. And this is E double 0 and read one to write and read 12. And typically when this is being applied to the skin, and we'll take a look at this later. W, E W is applied very lightly first of the soft touch, and then usually again, using the ability to step the kopecks to get darker values out of a single marker, then again for a few shadowed areas. And then you can bring in darker shadows with a red 12. And we'll actually in the next video when we do three companies can even take the shadows to an even darker level, right? So let's try to color blending E double 0, red one. To notice the stops, we're going 0, we're missing one and we're going to do in terms of the venue number. So it's bringing out a double 0 here. And let's just do a nice circular blending here. Very knots, lot vetted. And you can see it does apply a little gray at first. That's simply the witness of the ink. When it draws, the color will come out nice and vibrant and then gives the red 12 into it. Will do a vertical application of this two. And then we'll come back in with an E double 0. Again. It's still not quite dry they, but just keep an eye on It's as we're working. And I've worked in Edo zeros into the blended area. And let's, while that's drying, let's do a vertical blend. But I used to read 12 first-year. Not a huge deal. Though. You do typically want to work light to dark, of course, at an actual image, you might want to have highlight areas and we'll definitely cover how to plan ahead for that. But if you worked up first, you might lose the ability to go and lighter. So that's primarily the reason we want to work light to dark. So there's our vertical blend, same methodology. We're using the lighter tone over the darker tone to do the blend between the lunch. This is still drying a little bit, so we'll have to give it some time. Now while that's drying, let's take a look again at how smooth this vertical blend is here, and also this one is quite smooth. Er, the danger isn't as smooth as I think I would like personally, you can just go in again with your lighter marker and just saturate the page. And you'll know you're saturating it because it kind of kills the edge a little bit. And it's going to Latin that zone up somewhat. Because of the saturation of the paper. You can see we've already modified and Kilby a little bit and we can leave that to dry out as well and get a bit of a smooth blend their rights. And then let's move on to a final blending. We will use yellow, green, 032, yellow green, and 05. And these are really nice and blend well on this particular board. So let's start with the yellow greens or a three. And you might have noticed that I actually did the test blends on my tests blending card beforehand. Because I have this specially noticed with various tough to favor the differences in how some officers can blend on some papers and they just don't work that great on others. For example, E 000 and read 12 do not really work that great on the carpet paper. And that really surprised me where on this particular marker pad, not more compared to this particular bending card. It worked really great. Nevertheless, he has yellow green 003 and yellow-green 005. And off the bat, we already have a fairly nice blend between these two colors. Let's do a circular blend of these two to finish off. And again, we want to remember, we always want to come back with our lighter value to get the blame that we want between the colors yellow, green, 03 there, and then into yellow greens or a five. Now often you might see people doing blending tests and blending examples in little boxes or little ovals and things like that. The problem with that is, especially if you're learning, it's going to add extra pressure on you to be neat and stay in the lines I've saved lock. It doesn't really, it's not a big deal to have those boxes or ovals to test billings in. Just do them freehand like this. Get used to it be loosely flow. You just get used to how the ink works. And then after that, you can actually test your staying in the lines skills on your actual work. And so we have our yellow green 003 into our yellow green 05 blend. Notice how smooth blend has come now that this ink has dried, it's actually still drying. Why it's taking so long to dry. But nevertheless, the blend has become a very nice and smoothly. And also in the vertical strokes, a very nice, smooth blend between the two. And remember you can always take your lighter market in, go back in, Just don't be too heavy handed. Because what you can end up doing is creating very contrasted pooling, where the pools together and it makes certain areas but to white. And you don't want that because that's going to mess up the fly. So determined are thicker paper is I'd recommend 200 or 250 GSM blending card, but that is our lesson on to color blends. Give me grab your MOC is give it a try, and I'll see you in the next lesson for our three color blends. 11. Module 2.4: 3 Copic Marker Blending: Now let's take a look at some demonstrations of three color blending. And we're going to start off with our yellow greens. And we're going to do a nice spectrum here of yellow green, yellow green 003, and yellow green 07, starting with three, so that would be 357. And here we're just gonna do some vertical mass stroke application blends. So that's our yellow green 003. Bringing in a yellow green and 05 over here. Just kind of want to keep it nice and smooth and consistent. We go back to our yellow, green 003. Like I said, you can go over the region of blending or you can go over the entire blend itself. And then we're gonna go into yellow green 07, a fairly dark. And then we're gonna go to yellow green 005 for this blames to blend from five into seven. Keep in mind again, and I know I keep going on about this, but remember that the ink does need to tom to dry before the blend looks as smooth as it can. And we're going to come back in with our yellow green 0, 3. And we're going to blend this yellow green 003 over the entire blend here. Just kind of unify the entire blended area. And we'll leave that to dry. But you can already see that it's got quite a pleasing blend to it. Now, this blending group here really is yellow, green, three-year, five-year green, seven. It's all from the yellow Green family. And we have some nice stops. One stop in between in the green five, not doing six into seven. And then of course three not doing four into five, right? So we're missing one stop there, 357, That's one step away from each other in terms of value, they all have the same saturation number of 0. So it's very brighter green here. So that's our basic three color blending there, right? Let's go into the skin tone blends. And the skin tone blends. We shift families a little bit here. So what we're going to be blending is double 0 into red, 12 into e times 0, 4. And you can see already that we have a darker value here. So we have one-stop away in the value here, one step away, and the value from E, W into red one too. But in terms of red 12, we have a saturation difference here. So one wherein the color family of red, and two, we have a saturation of it. So it's a desaturated red at a low value of two or a lighter value of two. And we're moving back into the earth tone family. Let's take a look and see how this looks. Of course, being a lattice value here. Now of course, you can blend colors across families, across saturation groups to get really cool-looking planes. But you really have to taste, taste, taste on your blending code. So that's an E double 0. And this is the red 12. These two complement each other really nicely, as you can see already, you don't have to do that much work to have these guys compliment each other. Back to E double 0. So remembering back to the lightest rule. To get that blame to the area. Pretty nice and consistent. And then I'm going to go into full, which is our docker. Ps will be fairly dark at the start here as we bring it in. And now we go to our rid 12 and we'll use that to blend this edge. Want to over saturate it. And we can let it dry and just a little bit. And then I'm going to go over the entire blend again with a double 0. These values have less pigment to them compared to the darker values. And so there's more alcohol and so you have more of that to great effect. As we move on to the next tripled lending, we're going to let this skin tone Linda dry just a little bit and that will of course smooth out the bleeds there. And it'll look a little nasa as it draws of a Tom. Now we're going to do a kind of a strange blend, at least on the face of it. We're going to blend red violet 06 as our lattice value into violet 0 for which you know, you're already thinking, how is red-violet 0, 6 lot of invalid of four, and then violet 04 into violet 17. So we have a change of saturation. We have two color families. You have red, violet, and violet. And then we also have this kind of strange blend of seemingly a darker value into a lot of value. Now, I may have mentioned this previously. Colors have different values themselves, the different hues, if you will, a different color families, actually, they do not match one-to-one in terms of a value. So red, violet 04 and a valid 04 will not necessarily match one-to-one in terms of value effect red-violet 06 and violet 0 for specially paid with this paper actually have a very similar value. And so this pairing is to give us a nonce, darker purple into a brighter pink or magenta color. And have that violet 0 for making up the intermediary color to help us have a smooth blend across this particular color range. But again, it's taste, taste, grab your blending cord. You can see I have done many tests for various reasons and various demos in this course. And here you can see those blends there. Let's look at it in real time as we blend these colors together. So we're gonna start with red, violet 06, which will be our brightest value here. You can see it's extremely saturated and bronze is a very, very nice color. Is red, violet 06. Bring that into violet 04. Again, keep in mind that the Whitley and darker at first, go back to our red violet 06 to get this blend nice and smooth. Bleed it somewhat into the violins are full. And then we're gonna bring into the violet 17. And this one's quite doc. Stock. Definitely has a quite a hot edge at first, which we need to work to soften that up. And I'm just going to saturate this just a little bit more here. And we're going to go back to our valid 0 for now, of course, for to the 17, 4, 5, 6 would drink two steps away. So we have to work a little harder with two steps to get that smooth blend. And I'm going to bring this violet 0 for over those areas. Can let that dry a little bit. The blends already looking fairly good. It's not dry yet, but there is a Nazi softening of the edges as the colors blend past each other. Now we're going to try and unify everything using red violet 06 and bringing red-violet zeros six across the entire gamut of colors here. To kind of bring a unity to the entire blend, right? And we'll need to let that dry a little bit before we can truly assess how well the blend has blended. Although we can already see that it's moving in the right direction. And so in this example, we have the red violet zeros, six into the violet 04, into the violet 17. We have two different color families, and we also have slightly different saturation levels, 200 saturations of one saturation. And in this example we have a slightly strange jump from a 06 red-violet 0, 6 vt. to a violet 0 for value, and then into a 17 value. Like I mentioned, it's not one-to-one in terms of the values of the hues of themselves, right? Or the color families themselves, when it comes to the venues are red, violet 06 is really similar in many ways to a vaunted 04, if not slightly lighter. So here we have our examples of three color blends, showing that we can mix and match color families, saturation levels and even eventually levels to achieve the blades that we're looking for in our work. That's it for this lesson. And I'll see you in the next lesson. 12. Module 2.5: Choosing Copic markers that Blend : Blending markers is really a trial and error process, and you'll often have to taste your blends on blending card before you move ahead. Of course, the paper can impact a blend as well as the differences in the mockers that you're using. Nevertheless, we can follow some key guidelines in choosing markers that blend. I'm going to take a look at three different blending groups that you can use as a guideline or a foundation for building sets of colors that blend well. First off, we have a natural blending group. This has three steps. Step one, choose a single color family. For example, blue. Step 2 choose markers with the same saturation. So they would all be from the B2B saturation group. And then step 3, choose markers that are one or two steps apart in value, be 24, 26, and B28. And this will give you a nice natural blend that will work well together. Next we have a dynamic saturation blending group. And this allows you to, as the name implies, have some dynamic saturation in the blend. Step one, choose a single color family, in this case red violet step to choose markers that are one step away in saturation. So now we have a differentiation of saturation, red violet 0, red violet one and red-violet to, in terms of the saturation families. And then step 3, choose markers that are 102 steps apart in value. So now we have a set of a red violet 0 to red violet 14 and red-violet 25. And of course you can add more Mockus to this, could just be to blend or three blender or five blend. So that's up to you. And then lastly, we have a realistic blending group. Step one, choose three color families and next to each other on the Copic color charts. For example, red, yellow, red, and yellow. Then step 2, choose markers one or two steps away in saturation. So we have read at 0, yellow, red to yellow at three. And then the last step is to choose the markers that are one or two steps apart in value. So we have a red 02, yellow, red 24, and yellow 38. And this lets you blend across the color families. And of course, these are complimentary blending groups here, because on the coppa color chart, red, yellow, red and yellow all next to each other. Choosing complimentary groups for bleeding his great, but don't limit yourself to that because you can blend straight across that color chart. And you can find blending colors from any color family to any other color family that will work nicely. So in a nutshell, there are some guidelines on how you can choose markers that blend well, feel free to revisit this lesson and this will be provided for you as a resource to this module as well. So you can print this out and keep it on your wall to help you choose colors that linked. Well, that's the end of this lesson and the end of this module. And I'll see you in the next module. 13. Module 2.6: Pens that work with Copic Markers: In this lesson, we're now going to take a look at how different panes reacts to cope with Marcus and not everything is compatible. So you have to be careful what pins you use. My typical recommendation is to stick to kopecks, multilaterals, and brush pens because they are effectively cubic proof, right? So they're not going to bleed. But let's take a look using yellow, green, 0, 1 at what different pins effects have on the markers with the market runs over the pain, right? And so what we don't want is we don't want bleeding and we don't want smudging. But we do want to see that there is no effect on the market because that's going to help us have a nice clean look to our work. All right, let's get started with this. For our first step, we are going to taste it the Ziga cartoonists domain Gattaca, 0, 1, right? So this is a purple multiline, a pin. And I'm going to just do the field lines like this, the top left here. And we'll let that dry a little bit. And let's see what happens when we put yellow green 01 over. And now the reason I'm using yellow greens here one is it's kind of a light color at a decent kind of venue. And it will show easily if there's any bleeding happening. It seems to be like a very slight amount of bleed, but not much. So we can call this a Zika cartoonists. And then GAAP is 001, fairly capex safe, I would say, and I imagine as it dries even more than you probably would see, very little bitty. Next we're gonna take a look at the pen fine line, and this is water and fade proof of pigment ink. This is a no 0.1 as well. You need a popular multiline a brand. So let's do the same thing. Put a couple of lines down. Sometimes it's going to double up the lands, want to raise the stakes here. And let's see if this leads at all. It's letting it dry a little bit. I'm seeing a little bit of bleeding. But also it's largely negligible. And again, I think that should be fun. So the PIN fine line seems to be pretty fun. It does say it's water and fade proof. And that means, you know, to some extent I think that's going to help it be more consistent on the page. Right? Next up we're going to just try some pencil, right? So I'm going to just put a few pencil lines down here and just see what happens with pencil. Now, I can tell you already ahead of time, pencil is notoriously terrible with Copic markers. But just so that we're very clear, this is a unique could've told that pencil, really nice pencil actually rotates the lead while you draw. Nevertheless, the lid inside is just normal HB later. Let's run our yellow green 01 over this to see how it reacts. And I'm already getting pencil on the marker. And obviously we can't wait for pencil to draw it like this is how it is. So that's a bit of a mess. Let's try and get that graphite off the marker. But that's not going to work, right? So pain soul is a Heck no On that note. Right, let's next up. We're going to try this Jew subzero full but pilot. It's kind of a gel pen, I believe. And we're going to just do some shapes. So a little bit. It's a little bit rough here. It's coming out of it rough at that. You can use it to quickly put it to be a little bit more slow with it. And let's see, have gel ink stands up to cope with Monica. Did you want to let this dry just a little bit? Let's give it a try. There's definitely color bleeding happening and smudging happening. They got to this test. I'll have to replace this nib. And we do look at net replacement in Module 4. So do take a look at that. It's pretty easy to do. So we're going to have to say no to the blue gel ink there and probably most gel inks when it comes to using Copic markers. Right, Let's go for a actual multilinear cubic multiline is p 0.70.7, or give us quite a nice chunky tapir. Just do a few shapes, right? That, that drive it. Heck, then F, let us draw too much. Let's see if it's still a little bit weird how it reacts. So I have seen some bleeding. The section over there. Just let it try a little bit more. These are cookbook proof, should be kept proof, right? And it seems to be performing pretty well. Very, very similar to the men Gaga pain from Zig as well as the knee pain. So that's good. Great. So, you know, Copic markers are in panes, 2s and pain. Should we say that two Corporation thinks is going to be fun, just fun to try a standard ballpoint pen now, Roger, average ballpoint pen. Ballpoint pen ink is pretty thick. Usually it should dry it fun. But let's see what happens. Well, that is some serious bleeding. Okay. So I kind of don't want to even do the wrist. It's just bleeding like crazy. So standard ballpoint, Inc. is a no-go for use with Copic markers? That's for sure. All right. So notice the ballpoint no to the gel inks right? Here we have a cubic multi-line and naught 0.5. This is a purple pigment. So let's give this a try. It's quite an appealing color. And if I'm asked to do your lens in this, let that dry a little bit. And let's take a look. No bleed so far. Probably did. All right. We can definitely trust the cubic multiline are the non 0.5 purple. Probably this whole line of course comes in different sizes. So this is great as well. No bleeding, right? Let's try a pilot. G2. No, 0.7 here. It's a multi-line, a type of ink in a ballpoint pen style design. So let's see what happens here. And grab Amaka says the pilot g2. And that's going to be a definite no-go on. The bleeding frontages bleeds like crazy. So definitely no to the pilot g2 and it's ballpoint pen like nature with its jellyfish forward slash kind of multiline the top income exactly. Sure. The kind of Incan, yeah. But I can tell you that it's definitely not going to be suitable. It's going to smudge like crazy. Can next up, the gas and FUTA brush, nylon brush from Copic. It's a very nice big black brush pin. Can get a very cool traditional luck with it. All kinds of different stroke patterns as well. It's just kinda clean inked type of loans if you want. Put it a very nice sharp tip to it. Right? We've put a bunch down per tons down there. Let's take a look and see how this deals with it should be copied proof that it's just dry for a second. Little bit of bleeding there. So it's not quite dry. A 100 percent dry it. But yes, generally copied proof, I would say. You probably need to let this dry a bit though, because I do see some smearing. It's certain seconds, but it does seem relatively copied proof. All right. Well, don't put your marker on this until it's dry. So that's the big gas. If you add a brush, Let's try a a Pentel Sign ping here, right? So it's kind of got a quite a thick little Farber tip there. It feels like a marker. This particular Pentel pen, it's very nice to use actually. Were S. And let's see how this reacts to a yellow greens are one. It's not quite dry but it's not bleeding that much. There's a little bit of bleed. It's not as bad as the gas and FUTA, which I assume would really require decent amount of time to dry. This actually performs really well. I'm quite surprised that this actually. So that is the Pentel Sign ping made in Japan and then actually works really great. So that's definitely want to keep in mind that has a good kind of mix with Copic. No, it doesn't blend. It all just works really great. Right? Last but not least, let's try the Copic multiline BS, which is the brush pin. Here it's a kind of a smaller tip than the guess and FUTA brush. More than likely the same ink inside here though. Just get a bunch of things down for us to try out. Bring out a yellow, green or one. Just let that dry a little bit. And I'm not seeing much for any 3D leading abetting. So that's really great. That's ready, right? Let's, let's do a test quickly. We take the guess and feel that and let it dry rice. So I'm just gonna put some lines yet. Let it drop slow, see how it's going to react when a dress keep the tip mass and shop there because it's got a very much a brush tip. And while that's drying, let's see if we can get a better result with the dried ballpoint pen, for example. Okay, that's a definite no. It just bleeds even after few minutes. Same thing with the Pentel g2. Let's just check that this story, the pun of G2. Know we're still getting bleed with apology to even after it's dried. So that's definitely a no-go eat as well. Right? Let's try it over this gas and food. And now, look, I got to say, I think we gave it a good 20 seconds to dry. I'm still seeing bleed on this. So in this instance, perhaps it depends how dry it is. Maybe you have to give it some time, but definitely don't use your markers off your immediate applying that oral tentatively, apply it the gas and fewer to brush off. Do you've done all your coloring. And that's typical of most of the pins. You know, if you're going to use them off to you, you've done your Copic marker coloring will in that spine. I think it's going to be okay. But before and then you want to use them off or on top. Be careful what you use. This is a very nice tool. It just feels great and the hand to use. So let's be cautious when we're using the gas and fit it. You don't want to put them ocher on too early. Otherwise, the Copic marker line works great. That's the Copic multiline are pins. The Uni Pin worked great, the EPA been fine line worked great. And then we also know that the Pentel Sign pin worked super great. The Gosse and feudal. That's kind of a maybe, right? Especially at least at the beginning. And the purple multiline worked super great. Pencil was a Heck, no, right? Definitely don't want to use pencil at all. And actually the Zika cartoonist Megara 01 actually worked out pretty great. A key surprise because I've had a bad experience with this particular brand, but actually we're pretty great. And Mike bad experience really was that these paints dry out very quickly, like really, really quickly. They just dry out where coppa can last like two years and it'll still be working fine. But nevertheless, still at work great with CAPEX. So we can give that one a star for that, right? So keep in mind that not every pain is compatible with Copic markers. We've done this test, you've seen the results. You definitely want to stay away, especially from pencil and ballpoint pen, which have just extreme kind of smudging and blurring and gel pens don't work great EVA, Right? That's it for this lesson, and I'll see you in the next lesson. 14. Module 3.1: Introduction to Copic Marker Core Techniques: Welcome to this module. And in this module we're going to be learning about core Copic market techniques. These techniques can be applied to any work, whether you were doing manga illustration, cartooning, drawing illustrations, painting your scrap Booker, where your stamp and you want to use kopecks for your projects. You can use these techniques in all of your work. And I'm really, really excited to show you just how far you can take a Copic markers and just how professional and have good they can look. Please do enjoy this module and feel free to revise it when you need to. All right, let's get right into it. 15. Module 3.2: Working Light to Dark with Copic Markers: In this lesson, we're going to be using this illustration of an elf girl called foggy to help us learn a few fundamentals of using our markets. The first thing that we want to learn is working from light to dark and planning at our light areas. Now typically, you'll want to do this in your head and know with the lightest areas are going to be as you're coloring your piece. I'm going to be using this pencil as an illustrative way of thinking about where we can place our lighting when we want to think about lightest areas. Because when we go to dock with kopecks, we just can fix it. Right. So we have to plan ahead of time when we went out lattice lights to be. And so what I will do here, working just on her skin and loan is use this pencil to mark out some areas where I want it to be the lightest lights. And then I'll go in with the starting light skin tone and full those areas but not filling in the areas that I've marked out. Now, something to remember, please remember this pencil does not work well with kopecks. We're only using this pencil to mark out the regions for illustrative purposes. You'll want to have it down in your mind when not to use in your mock-up. Alright, so let's get started. So typically I like to have a highlight on the nose. So I would leave this kind of shape, maybe on the nose, possibly even a little bit there. And then I already know I'm definitely not going to be going into the AI space at any point. So I'll just put some pencil legis to mock out that our weren't going there. A lighter area on the cheek is good because the cheek areas often raised. This could be on one or both sides depending on how the characters lit, firewood coloring the lips, I'm not going to do so in this demo. But if I were coloring the lips and make sure that I lift one or two small highlight areas on the lips so that I didn't go into those zones either. And then I also probably want to leave some of this room area here of her ear. Lambda, that's not pure white, but I want to leave it later. So that's just to help me remember that. And then I might want to also add a reflected light underneath her jaw line here hitting into her chin. So I'm gonna make sure I leave that quant want and maybe even a section of the neck quite white. So here you can see as I mock the zones, I'm thinking very carefully about where I want to leave lots of white space, where I can go in later with markers and add the color to it. But it's going to keep its value, it's going to be brought, we always have to remember an OT. Why does the brightest we can go? It's brighter than the sun in the art world, look on the page, so to speak. And so we want to be careful how we use our brightest white bright lights, right? And also conversely, how we use our docs, especially when you're doing more realistic kinds of work. So I've gone ahead and mocked at some additional areas of where we don't want to put the marker. And now I'm going to move in and use a very, very light earth tone E triple 0. And I'm just going to do some fulls, not going into those regions. Now, once again, I'll repeat it again. Don't use pencil. You're going to see even in this demo, then when the ink touches the pit, the pencil, it kinda smudge a bit and it doesn't really go away easily. So don't use pencil says something you need to learn to do mentally to ensure that you are avoiding the areas that you don't want this color to go into, right? So let's go for it. Now as I do these color falls, we want to remember that the ink looks a little more gray because it's drying store. So it looks gray in the beginning, but as it dries, the saturation will come out. This particular image was done digitally and is printed the Copic marker paper. Now, as you can see, as I'm applying this mock around the lips, even though I haven't marked the lip areas where they honor lines is not going into as to not put the marker in there. I still know that our mustn't put the market it because they're going to have their own unique color. Also are very much strokes between flat strokes and using the circular motions. And I do this based on the area that I'm trying to full. R should be actually working a little bit faster here because I want to avoid a cloudy look. You can see they're a little bit how the pencil smudges in the list. Let me just work a little bit more aggressively. Or any triple 0 is quite a lot ocher. And even though does look somewhat cloudy in some zones here that I'm seeing, it's not too much of a problem because even at a very high level of saturating the page, it will still be very light compared to the next one up, which B, E double 0. And so I'm banking on the contrast between the two to make it V E triple 0 very light. So here I go and I'm filling these areas having planned my lats ahead of time. And I'm making sure I don't go into those areas. And I want to keep very lot. Now don't panic, be loose, be flowy. Especially if you're working very light to dark. You can just go over areas that seem a little cloudy or not saturated enough and just add a little bit mock-up there. Because that when he stuck up to a point. And that is in essence us planning are lots of HIT of Tom thinking about where we want the lattice lots of the piece to be. Now that's not to say that the lots of zeros have to stay white. We might want to make them perhaps E triple 0 at some point. But it's important that we know where we want to keep the lightest areas and we work from light to dark so that we don't accidentally bring in too dark. Values are allowed areas and then we can't fix it. And then our Latin looks a bit weird or messed up. That's it for this lesson. Plan, your light areas, and I'll see you in the next lesson. 16. Module 3.3: Copic Marker Layering: Shading with a Copic Marker: Now we're going to look at how we can use a single marker to build up values in our piece to allow us to do single market shading. And so I had a new version of foggy here. And what we're gonna do is I'm going to fill in with a triple 0 her skin again, keeping in mind the areas that I want like just in my mind. And then I'm going to wait for some of the ink to dry. I'm going to actively press harder and add a little bit more ink to the areas where it wants to have more shadow. And so this is Single Market shading where we're building up layers with a single market. This is really one of the great benefits of using Copic markers because you can get a lot out of a single market. Alright, let's go for it, just working on the skin. So now I've done a bulk of the falls and what I'm doing is I am just kind of clearing up some areas that look a little cloudy. It looks a little bit different on camera to how it looks to me in reality. But nevertheless. And what I'm gonna do now as I kind of finish the software, is I'm going to start putting in more and more mocker in areas that are shadowed. So it'll look a little darker at first because the ink still drying, so it looks a little bit weird. But nevertheless, areas such as here on the eyelids and this particular zone here as it goes down to the nose. Here are the corners of the eyes. And just really saturating the page with the mocker and build up those layers. Also just the bottom of the nose, typically shaded. And there's also a cost shadow that comes from the bottom of the nose there, just like that. And then under bottom lips as well. Bottom lip, mandu, there's a shadow there usually. And I'm going to put a shadow on the edge here of his skin. Cells are kind of occlusion shadow. And I just keep building this marker up. Trying to get nice contrast in does draw a little latter. So you really have to be quite liberal rule with using it, saturating the page of that. And then of course, the shadows of the hair. And as it costs a drop shadow, core, shadow mandu, the skin surface. And I can put those in. And you can see as I do this, I'm really building up some nice definition right in the face and in the skin, helping us to have a better understanding of the 3D forms of the face. So really you just keep saturating the page, layering the marker on top of itself. Giving you the ability to create really nice-looking shading really easily just by stacking them, aka. So I'll go over these zones again. Don't panic too much if you do go into one of your areas where you wanted to keep it specifically light? If you just, you know, you over just a little bit slow. At the end of the world, we'll look at how we can use the colorless blender to fix small errors like that. So here I am just kind of giving it a third cuts in a way over those shadowed areas, building up the single market here. Just using a triple 0 for this, no additional markers. And you can already see there's a lot more definition to the face. Stacking the mockup and different markers will stack different neat. So you're going to need to give them a try and just see which ones work best for you. But nevertheless, this is using a single Copic marker, very light mafia, and using it multiple times to bold up form in the skin. And we will be using this exact image moving forwards to also explore what does it look like when we start mixing multiple markers together to bold forms and do our lights and shadows in our characters, whether it's skin or hair or clothes or what have you. That's it for this lesson. And I'll see you in the next lesson. 17. Module 3.4: Copic Marker Layering: Shading with Multiple Copic Markers: Let's now take a look at multiple marker shading. And we're going to be doing this by layering multiple markers together. Now we already have a good degree of indication of the lats and the shadow areas using just a single market in this instance, e triple 0. Of course, depending on the paper that you're using, you can also do this quite easily with a double 0. But because E double 0 is the next one up from E triple 0 in terms of value, I'm going to use in double 0 here. And we're going to enhance the shadows and bold the shadows up while also keeping the ladder areas lat will probably end up going back to E triple 0 to fill in and soften the edges of some of these highlight areas so they stand out a little bit bigger than that, also fade in nicely to the rest of the skin tone. So let's start building up those shaded areas and doing the blends with our E double 0 here. And the thing we want to remember is that we're gonna get some hard edges when we're using the darker marker on top of Latin ocher. And so of course we want to use our tried and trusted technique of using the ladder marker to soften those edges when we go over it again. So you can see that this EW 0 is definitely darker in value than the E triple 0. And so we're getting quite a lot deeper shadows with us. And try and work relatively quickly for the sake of the video. And over the lesson. And I'm just imagining areas where I think there will be a lot of shadow. We're going to further enhance the shadows with darker markers still. Right? Just focusing on the skin for the purposes of looking at multiple mockups shading. Now I've done the E double 0. I'm going back to E triple 0. And I'm literally just going to use circular movements on the edges of the double 0 and just blend out that edge. And you can see I have a quite a loose approach when it comes to the highlight areas. They're not the most neatest, crisp, clear shapes and they don't really need to be really, we just want to make sure we're leaving some lattes where we need them. As the smoker drives the triple 0 being put over the EW 0, we will see that those edges get nice and soft. Think we can have a little bit more full here. And now we've softened up those edges. Quite nasty. And we can actually go a day in and do another layer of E double 0. But I'm going to move on from that and we're going to move straight to rate at 12. And we're going to now kind of go inside those shadow shapes a little bit more in and actually enhance those shadow shapes little bit more. We'll return to E double 0 to blend for those. Something to remember with blending as well as you don't always have to blend out every single edge. You can leave a few edges, nice and hard and nice and crisp and sharp, right? You can leave some soft. You can use your artistic discretion to help you with that's hard and soft edges do say different things. Hard edges typically say, Hey, look at me and brings focus to the viewer. Soft edges allow the eye to kind of glide over the page. So there's a big compositional use of there for them. And sell when slightly into the acyl group. It's not a huge problem. We'll look at how to mitigate that to some degree. Just enhancing the shadow under the Libya and the core shadow from the top part of the ear. As well as the occlusion shadow inside the ear, gets really dark. Little shadows here. And of course the core shadow on the neck. From the chin. You can see we've left this nice bright white highlight here to show reflected bounce lighting from the ground, moving up and to the bottom of the cheek. Right? To do that, we need too much shading here. And it's to the core shadows of the hair. And then the occlusion shadows as you move into these tight spaces. Right? And then we can of course return to E double 0 and soften some of these edges up. Now, what I'll do here on the neck, for example, is a leave the lowest point shop. And then I'll kind of blend the rest a little bit. So we have kind of a soft into hard edge, into soft edge. Similarly here I might leave the inner line sharper, but I'll use this marker to blend out the rest. Now, also don't be disheartened when you start with your base tone, your base color can look weird in the beginning until you start building up those darker tones. Because the darker tones really help bring out the forms and the skin look. So just to go through the whole process and experienced the whole process, don't get disheartened too early, right? Just killing some of these edges. And lastly, we're going to use easier for, to do smaller but even more enhanced shadows. And this gives us really a nice range of depth in our shadowing. And while I do this, I will just repeat the colors for you. I've used E triple 0 for the base, e double 0 for the layer on top of that. Read 12 for the layer above that. And then finishing off with the really the darkest, darkest shadow areas with easy to row 4. Of course, we'll definitely go in and blend this because this is quite a stop shadow color here. So older, really darkest, dark areas. I'll go in with a little bit of this just to enhance those regions. You can see I'm using the very tip of the mocker, have a little bit more accuracy. And of course, I can then move in again and use the value just below that, the Mach we use just below that, the red 12 to blend the edges of this. And I'm going to use circular motions to do that. And already 12 saturates market into the page. Of course, I definitely recommend also tasting. How much ink saturation can the paper that you're currently using hold? Because that will also determine the capability of your ability to soften certain amounts of layers, right, once they have drawn. Just going over that with red 12, little aggressive with it. And then what I'll do to finish off is I will go over all of these shadows and over most of the piece without lots of stuff, Eddie, to really get the final blends down and soften any regions that still seem a bit too hot. So now I'm going to take E triple 0. And now that I've seen that I have a very good venue range in terms of the lights and shadows. I can actually move over some of my lots of slot areas and just kind of soften them up a bit. So juice up some edges, any additional edges that I want to soften in the peace. Of course, you're saturating the paper with ink. So you're gonna get some degree of blending, which is really nice for softening up those homepages. Don't be timid at this stage. You really want to push that ink into the pipa to get the smooth blends you're looking for. And that is the end of this lesson on using multiple markers to shade your characters and your drawings. I'll see you in the next lesson. 18. Module 3.5: Copic Marker Layering: Shading with grey Copic Markers: In this lesson, we're now going to take a look at how we can use gray markers to take the place of other markers and use them to create nice rich shadows where we need them when we don't have other markers. Or we want to add a cool type of shadow to a particular flat field area. So what I'm gonna do is move ahead full in fog is hair with just a base value, base color. And then we're going to use a light gray market to do the shading and will achieve the full hair look with just those two markers. And we'll start off with blue-green 53. And I'll see you after the jump. Once I've done that, the flat falls. Now I've done my basic colourful with my single color marker and I've gone and enhanced some of the areas I feel should be shadowed by saturating the page a little bit more like at the root area in here with the hair piece covers the back of the hair in these areas over here. And I'm actually going to go in now with a C3 marker and I'm going to enhance the shadows. And then we'll return to the blue-green 53 and then blend in the shading that I've done with this market. So we're using a gray market here to now enhance Heller. And this is really great to as a technique to use in general when you want to enhance your shadows. But it's also very good to use if you don't have exactly the right shadow available, whether that's because you don't have the marker or because there is no good or suitable shadow for that that you've found. You can then use Grace. I'm using a cool tone gray and that's what the S3 is, a cool tone grades. You don't need all the grays in my opinion, they have warm grays, cool grays and neutral grays. I prefer a cooler look tending towards more cool colors and blues. So I would definitely recommend cool tones if you also prefer more of a cool look in your color tones versus a warm. And so what I'm doing here is I'm going in and I'm enhancing all the shadows with this C3 gray for this particular value where we have a 53. So we've got a three on the value scale here. You can use 234, even five gray tones in terms of value to really bring out the shadows a little bit better. Some kind of imagining the hair strands and the hair line areas. The kind of trying to move my brush with the flow as I attempt to shadow these are zones and of course I can stack the gray as well when I want darker zones. Chelsea, right here. Really get that form and show the overlaps of the different strands of the hair. Even add miscellaneous strand detail and you can just let the ink work. Sometimes. Capex are really fun to use and you don't want to make it a super serious thing where it's not fun for you to use them as just this very dramatic thing. Just have fun with them. Let some of the natural mistakes happen. These natural mistakes really add flavor to a piece. So don't let them get you down. Just keep working and enjoy the process. And so here I've used C3, cool gray 3, number 3 here to enhance my shadows. And what we have achieved by using a pre-planning of our light source, using a single marker for the base value and the base color, and then using a cool gray to enrich our shadows, we've achieved quite a broad range of a values and saturation across the hair, giving us a very pleasing effect using just these two markets. So it's really impressive what you can do with a small amount of markets. So remember, you don't have the shadow tones for your blue-green color range, or you want to have a more gray look, warm or cool look, then you can use your cool gray markers or your gray markers and a single value here to get the three-dimensional at the end, the lighting as you'd like to have it in your piece. Now that I've finished adding the cool gray C3, I'm going to go back over the zones with the BG 53, blue-green 53, and just soften up some of those ages and even enrich the shadow zones again with my base color. Now wherever I see certain edges that I don't want, I will just go in and clean them out. But sometimes especially in hair, it's good to keep certain edges that appear to be defining specific designs. So don't be shy about leaving some of those harsh edges in. And using just two markets, we've colored their hair completely, bringing in a range of values across the surface of the hair. And using our S3 cool gray to really enhance our shadows. So if you only have a few markers, remember, you can stack your markers and you can definitely use the gray tones to enhance your colors and then go over those greater and again with the base color to really bring back some of that color richness and give you a pleasing, cool, shadowed effect. That's the end of this lesson, and I'll see you in the next lesson. 19. Module 3.6: Using the Copic Colorless Blender for Error Correction: The colorless blender is a fairly versatile tool when we want to soften edges, remove errors to some degree, never perfectly, and also add patterns to certain things, which we'll take a look at in another lesson. But for now, we want to color in the rest of the areas of foggy the ELF. And you can see that I've gone outside the lines, so to speak and had ink bleed into her arms, into her lips little bit. And this is the perfect opportunity to show you how you can use the colorless blender to mitigate to some extinct, this extra ink that has bled into those zones. The colorless blender is in fact not really a brilliant. If you try to blend with it, you're just going to have white ink splashes everywhere where it's kind of separated your ink a little bit. Instead, it's more of a correction tool for these types of scenarios. And all it is really is a Copic marker without any pigment, so it's really just the alcohol ink. And so what you can do is you work it in and you'll need to work in, in a few times to kind of soften the dye and the previous ink. And you can kind of use it to pull and push away the areas where you've made mistakes. Now, it's not really a coping eraser, so it doesn't work a 100 percent perfectly, but it's definitely great at lightening up areas. And so we'll just keep working it in here and we'll return to those zones now. So you'll see, let's just kind of note how dark that area is. Now, what we'll do is we'll saturate this area. Really trying to push it, push that ink back, the ink that has gone over. Now your results will vary, of course, based on the drying time in the zone that you've allowed to happen. But of course also just based on the general values that you are using that you allowed to bleed. As I said previously, it's not really a cubic arrays that it's just a tool that allows you to kind of blend and soften edges little bit from what paper going into the ink zones. So you really want to just do it the best you can and then carry on with your life. And so while that ink drawing, we've managed to lighten somewhat and push some of the ink away from those areas where I've had it running into the eye zones as well as the lip zones. That's it for this lesson on one way to use the colorless blender, and I'll see you in the next lesson. 20. Module 3.7: Tip on Tip Color Mixing with Copic Markers: We're now going to be taking a look at tip on tip coloring. And what I'm going to be doing is using a triple 0 and read 83 to color foggy the Alfes loops. And we'll also add some blush if you will, some subsurface scattering to her nose and her cheek areas using this method. So what I'm gonna do is I'm going to open both of these. And then I'm going to use the color of red 83 and dip into it with my E triple 0 marker. And I'm just gonna do a little bit like this, maybe a few times, three or four times. And then I'm going to color my E triple 0 onto her lips. And what I'm going to get is a very smooth blend of these two. Basically tensing the E triple 0 with the RED 83. And I can achieve such a nice smoothness because I'm using this tip onto method. And of course we want to ellipse to be a little bit more red vein her skin tone because we know that the base of her tone is E triple 0. And so at the shadowed areas, particularly the left line, I will add more of this array to the tip of my E triple 0 as I'm blending this color around. So I'm going to let that dry a little bit. And then what I'm gonna do is take some plain lending card and just clean the tip of my E triple 0 and you can see the red coming off there. And you don't have to worry about permanent, permanently having other ink in the tip. By doing this, it will just keep flowing through the ink in. The market will eventually push all of the other color out. And we're back to our normal E triple 0, even if they are markings of the other color on this mock-up, don't worry about it. The ink will get out is the original triples, Eric, Just you'll know that it's clean when you clean it just like this. All right. And we'll let that dry a little bit. Seems fairly dry brush and I'm just going to blend those edges in just so we have a smoother edge of the edge of her lips. And being a bit aggressive. Yeah. And I'm going to add some of this rate 83 into her nose colors to get a little bit of subsurface scattering happening in her nose. And subsurface scattering effectively is the light bouncing into the skin and then bouncing out, dancing, carrying some of the light from the blood under the skin. Right? So that's what kinda gives you, would ever read a richness to your skin is the subsurface scattering. And we'll add a little bit to her cheeks as well. So there's a number of ways to add this kind of pink time to the cheeks and the skin. This is just one of them. And I'll edit on the other side as well. And it just gives the skin a more natural look. To have some pinks can turn in there. Another place I like to add it, it's kinda wanna call it a secret. But Stephanie, a trick that I like to do is actually add some pink to the end eyelid areas here. And you can see I'm even going over my highlight regions with us. But I think the effect looks pleasing. So I'd like to add some of that richness in with this tip on tip technique. So there are really so many techniques and interesting things you can do with your markers. I would definitely encourage you to try new things out. Now obviously someone tried something out with this at some point to figure this out. So definitely give it a shot. And there I'm enhancing the shadows of the lips. Typically at the top lip will be a darker value than the lower lip. So I wouldn't hold back with this pink tone on the top lip. I want to keep my edges nice and smooth. Rice and I'm going to clean this marker again and just do some final blends to smooth that some edges you can see the pink coming off over here. That's why I say you need to definitely take a little bit more of a, uh, aggressive free approach, free-flowing approach. Don't be too tight with your mockup usage. Just go for it. And I'm just going to do a little bit more blending on these edges here. And it's really fun to you, these markets, I'm not going to lie. It is so much fun to use Copic markers. Just the things that can happen when you're using them in the naturalness of how they look. It's just really rewarding. It's a lot of fun. It's really rewarding. All right? And there we go. We've added some subsurface scattering and reviews. They tip on tip method to do so with the lightest base color here for the skin. And you can use tip on tip for anything really anywhere where you want to add extra gradients from one color to another. I will add a little extra nuance to your blends. That is the tip on tip method. And that is the end of this lesson. I'll see you in the next lesson. 21. Module 3.8: Adding Patterns and Textures with the Copic Colorless Blender: We're now going to take a look at using the 0 colorless blender to actually create patterns in our clothing. And you can use this degrade patterns in anything really, in any kind of flat field area. Really great for creating patterns in lands and clothing such as stitching, such as repeatable patterns and designs and things like that. So what I'm gonna do with foggy now that we've kind of filled in her shirt area or a tunic area here is I'm going to do two zones. We're going to separate of his sleeves as one zone and then the main frontal section of the shirt yeah, as another zone. And I'm going to create some patterns and designs. So what I'm doing here is I'm using the flat edge, the chisel edge of the marker. And I'm kind of just using it to create nice sharp lines. And I'm creating a line of definition. They're almost as if the sleeve starts there and I'll do the same on the other side here. And this is just so that I can define some zones to give us some different looks so we can see what we can do with this marker, the colorless blame them off at 0. And I'll do different patterns in these two zones. So thinking this main zone here, Let's do circles and dots. And the good thing about using the harsher, edgier, this chisel edge is that you can press pretty hard effort so you can get at, we encourage you can get nice and close to the ink to make sure your patterns read. And this gives you a nice natural look to patterns and designs that you want to push for cross surfaces. Of course, if you wanted it to be pure white, you need to mark it out, leave it at pure white or use Copic Opaque want on top of that, which we'll look at shortly. And I happen to use Copic Opaque want. But this is one great use of the Splenda tool to create these patterns. Magic keep going over and over. It's going to push the ink more and more up to a certain extent. So the areas where I feel like I'm not seeing that circle enough, I'm just gonna go in a few more times and do it. Similarly with the dots. This does work better in lighter colored areas, as I'm sure you can tell from this demo. And you can definitely use the super brush as well to your C that you can't press very hard with it when you're trying to make marks in the lighter areas of the page. So here I'm really just pressing hard, saturating these dots and influencing the circle patterns here. Right now on the sleeves, what I'd like to do is to do two kinds of stripes. So what I'm gonna do is I'm going to use the switch to its widest form for some of the stripe Lands End and its thinnest form for the others. So start with a thin line here. And then I'll do a thick line. Back to the thin line. Of course, when you're doing patterns and things on clothing, was want to follow the contour of the form, imagining the arm into the air and imagining the direction that the clothing is moving in. We're going to do the same on the other side here. Like I always say, be loose, don't be too stuff. Don't worry too much about mistakes. No piece of art is ever perfect anyways. So washed off with something that don't even exist, right? Let's just do your best and enjoy the process. And of course, your market tip will likely have some residual ink on it due to the different colors here. So you can actually just use a piece of linen chord and clear that to make it nice and clear. Clean it. We'll mixed use. Add a double line here, y-naught. And we'll put a double line here as well. And that is how we can use a colorless blender to create patterns in our flat false. Let's move on to the next lesson. 22. Module 3.9: Using Copic Opaque White for Specular Highlights: In this lesson, I'm now going to show you how you can use products like Copic Opaque White to add very bright white highlights to your work. So copic opaque white is a zinc based white paint ready? And this particular version comes with a built-in fine brush in, attached to the cap, kind of like a nail polish in a way where you can use that to apply the opaque white. And what I would recommend you do is get a card, some linkedin card, or any kind of paper or card or something that you are okay to put some of this opaque white onto and actually do some of it on that paper. First, just put some here, get some of the liquid there. And just kind of get a nice tip to our brush. And what I'm going to do is I'm going to dip into this pool that I've made and then gently apply it where I want it on the image. It's going to move this a little bit higher, IPS or an exit ME put my hand in it. And so areas where I definitely wanted to apply this is in these big highlights on the eyes. Be very careful of course, with this because once you've uploaded it's there, that's going to be very hard to take away. So take your time and be patient. And it can be tricky if you're not used to using brushes. So just be patient with yourself and try and get it as smooth as you can. So you'll want to probably take a more of a dabbing approach to this. I'm going to add some bright white into the pupil area here. And you can see that adding highlights to the eyes like this really brings life into the image. Right? She kind of seems like she's woken up, she's come alive now. And also she has a gloss earring section here. So I want to put just a little bit of stroke of luck there. So it's kind of like a little glass GMO, some such in her earring there. And of course, things that have these types of bright white highlights there called specular highlights. So things like metal tend to have these things glass, of course, eyes, things that are wit. So anywhere where you feel this would make sense to apply. Just for the sake of this video, we'll apply it onto various objects. So we can get that nice shiny reflectivity of the light will speak of a light. And we'll put some on this button as well. And of course, an area that is kind of unfinished in some sense until you have a spit kit on it, of course, is not always necessary to do this. But I definitely want to get some of this copic opaque whites onto the lips. And I'm just so that we have a nice LA pilot over here. And V, We have a finished application of copic opaque, want to bring highlights into our image. That's it for this lesson. And I'll see you in the next lesson. 23. Module 3.10: Enriching Shadows with Pencil Shading: In this lesson, I'm not going to show you how you can use pencil to enhance your shadows. So what I'm going to do here is I have a clutch pencil with some normal HB lead in it. And I'm going to go into the areas where I want to dock and shadows and I'm going to do some cross hatching or general hatching. So I'm just going to come in here with my pencil. And anywhere that I feel I want to have slightly darker shadows are enhanced shadows. I'm going to put some of this pencil and you can see I'm kind of sketching lines down and getting a slightly darker effect in these areas. Let's just for the sake of demonstration, I'm going to put some pencil lines here on the side of her neck and go into the white highlight area there. You can see I'm just kind of stroking some lines down. And I'll apply this liberally across the piece wherever I wanted to have slightly enhanced shadows. Add a little bit more here, just for examples. And we'll put some here as well. Pressing pretty lightly with us. But of course you can press as hard as you need to press your desired effect and try to be fairly consistent. Now of course, if you wanted a rough look, you could just leave it like that. But what I tend to do is I take one of my knuckles, of my fingers, this knuckle, that knuckle. And I use it to smudge the pencil. And it gives a very soft look to these little shadows that I've created. And this is a really great way to get a very advanced ambient occlusion shadows. Look into your work where you're using the pencil on top of the Copic markers once you've finished coloring the entire piece. To get a nice, smooth ambient occlusion shadow look in your work. And that's the technique and that's the end of this lesson. See you in the next lesson. 24. Module 3.11: Softening lines with Color Pencil in Copic Art: In this lesson, I'm going to show you how you can use colored pencils to soften the harsh dark lines that may be in your work. Now in this particular illustration, foggy, these lines are particularly dock. She was drawn digitally and then printed with an LaserJet printer onto this paper. And of course, softening or lines is going to be quite hot. It would have been ideally better to have given her brown lines or less dark lines, maybe more gray lines in the first place to, if you wanted to give the work a bit of a softer look, of course were more cartoony work. Thick black lines work just fine. But in the instance where you're working either digitally or traditionally and you want to soften the lines you have into darker lines. I would recommend using this pencil technique and it has quite a pleasing effect. So what we're going to do is use this pink pencil, which is kind of a good color for this particular skin top. And go over the lines slightly letting some of the pencil bleed out into the skin areas. And it'll create a softening effect over the lines and bring a bit more unity to the piece. So let's go ahead and do that. And what I'm really doing is I'm, I'm sketching on top of the line. I'm trying to be careful not to go outside of the line. Well, if you do, you can erase a little bit. Just don't press too hard with your pencil. And you will have some of the graphites on the page which you can just blow away or sweep away like that. Hopefully you can see as I do the lips, how it has a kind of a softening effect of the line is not so black anymore. It's kind of getting closer to the skin tone. Now of course, you would want to match the colored pencil that you're using to the region that you're working on. So for example, if I was working on the hair, I wouldn't want to use this pink, but probably use a blue. And something to keep in mind as well is that kopecks line of multi liners. If you want to manually ink your work with traditional tools, they come in different colors. And so you could actually do your line art in pink, or do you lie not in brown or even read? They have a number of colors. And that's how you can achieve a softer line look that way. But this pencil trick, this pencil method, is really effective. And it just gives the work a nice finish where the printed will manually learn on it. So I'm just gonna do a few zones. Yeah, just for example purposes. But I'm sure you get the idea. And anywhere where you mess up, of course, you can go back in with the eraser and just tidied up. Its technique is of course done off. Do you finished coloring your work? Keep in mind, kopecks do not mix well with pencils and you're going to get weird smudging and blurring. So I really don't recommend you doing that. And that in a nutshell, is the pencil technique for softening your linework and bringing a bit more unity to the piece. And you don't want it to have such dark contrast from the thick black lines. See you in the next lesson. 25. Module 4.1: Cleaning your Copic Markers Well: You may find that your markers, your caps, and even the size of the markets, might get fairly inky from time to time depending on how you use your markets. Nevertheless, you'll want to clean them and maintain them so that they stay nice to use. And the easiest way to do this is to use alcohol pads. Essentially, these pads are small alcohol swabs, small pieces of material that are saturated with alcohol and they're pretty wet and they're great for cleaning Copic markers. And so you can just go over your markers wherever there's dirt and just rub some of this on. Don't be too aggressive with it because it's quite powerful alcohol. And just go on and clean up all the edges of your marker, giving you a nice shiny new looking code block. Just like the day that she bought it, can also clean inside the lids. Sometimes the ink when handled aggressively, the ink will spill into the insides of the lids. And you can see that the prep pad here, the alcohol swab is absorbing all of that ink. So I'm going to just continue to clean this and check my Mach is exterior, make sure it's nice and clean. And that is how you clean and maintain your Copic markers using easily available alcohol swabs from your pharmacy or your drug store. That's it for the Copic maintenance lesson. And I'll see you in the next module. 26. Module 4.2 Refilling you Copic Markers with Copic Ink: Welcome to this module on Copic refills and maintenance. And first we're going to take a look at refilling a mocker using your code, pick various ink. And I'm going to be using this completely empty mock-up for this demonstration so you can see how you can easily refold your mucus. What we're gonna do first is we're going to take both caps off of this market. Now this Mach is completely empty and as you can see, both sides of very white on the nips. And we're going to do this so that we can tell when the barrel is full of ink. Because we'll see that the facade of this mock-up is going to get nice and juicy with FET ink in it. Something to remember when opening up your various ink is this plastic is a very thin and very sensitive to pressure. So just to hold it gently and open the lid very carefully. But it'd be filling this marker with a double 0. And what I'm gonna do is I'm going to hold this empty macaca or the perspective to be fooled mock-up at an angle like this. And then I'm going to turn the various ink bottle down. And you can see that the nib doesn't immediately full with ink there of the bottle, right? And so what we're gonna do is we're going to just gently drop by, drop, add ink into the market. In the beginning when you're new at this, this may seem like it's going to take 50000 years, but it really winds and you'll get pretty quick at squeezing a drop, dropping the drop, squeezing and drop dropping the drug. And before you know it, you will have refold your market completely. So I'm just gonna go ahead and do this. And then off to the jump, we will see that the ink has gone through the entire, entirety of them AKA, and made the fossa juicy. And as I continue to do this, you can see that the other side of the market is getting quite saturated. And so we'll just go a little bit further. And this mocha will be refold and ready to use. When both sides of your marker on nice and juicy, the refilled is complete. And that is how you roughly a Mockus with the cubic of various ink refill bottle. That's the end of this lesson and I'll see you in the next lesson. 27. Module 4.3: Replacing Copic Marker Nibs: In this lesson, we're going to take a look at cubic net replacement, whether you want to switch out to different nibs or replace a damaged nip. This can be done easily with some spec up Eclipse and a pair of tweezers. This particular pair of tweezers has been modified at its tips, where I've been to the tips in with a pair of pliers to make it easier to grab nibs in and out. All right, let's change this now about using these brand new super brushy lives. So I'm just going to grab this packet and take out one of the nerves. They come in really nice little receivable Ziploc bags. So you can just close these and put them aside. And then I'm going to quickly remove this node using my tweezers. Now when you take a look at the one that is the replacement of, you'll notice the sharp end is actually the tip and this kind of flat edge over here goes into the barrel. Hold your mock-up right, so that you don't spill any ink out. And be careful to dispose of your Exchange nib very carefully because it's still may have some ink in it. So definitely put it to one side. Now, I'm just going to take the new nib, place it inside the mocker and push down. And that is pretty much it. Once you've placed the new node in your marker, you can actually recap them, aka, give it a few shakes. And the tip will have rejuvenated with ink, ready-to-use and ready to roll. And that is how you replace the nibs on your Copic markers. I'll see you in the next lesson. 28. Module 5.1: Gabrielle Demo Walkthrough: In this country, we are going to be taking a look at the coloring process of the character Gabrielle. This is a four times speed commentary and the original video is available for you to watch straight through. It's about 1.5 hours long. This particular illustration is part of a new series of drawings that I'm doing to build out my portfolio in a new style that I've developed. And I really start with your sort of ease. I think I'm using E double 0 here to start out with a base of her skin. And it's important to remember that different papers really do react differently. If I use this E double 0 on the official Code, big paper, it would be a lot darker. But this is my locally available blending card, and it's actually quite a lot lighter as you can see in the video. So I didn't need to use E triple 0. But it's great that with the kopecks, you can actually play with the ranges, the ranges based on a paper you have. So if you notice that a marker is a little bit darker on student hub of paper, you can actually just bring the entire value range down to accommodate for that sort of extra value that the papers bringing to the markets. Conversely, you can scale up. If you notice that a paper is treating Mach is very likely. And you know, as for the hardcore science behind all of this, I mean, I don't really think, you know, know the structure of how they design the papers to the granular level, on the fiber level. But there's definitely a difference. And so you always want to test before you go ahead and do a full piece of all the pieces, you'll see demos done of this particular piece in Gabrielle, as well as the portrait piece that I had done later on in this module, where you see that she has very intense lighting on her face, these two pieces have had the biggest degree of the formatting principle, improper kind of lighting applied to them compared to the other pieces which have a more simple approach to learning. And learning is actually very deep, very complex. If you want to learn more about learning, especially learning for characters, but lighting in general for coloring painting. Definitely take a look at my course, character at school, complete coloring and painting. And that'll help you understand the theory behind learning. But it's something that beginners can get caught up on, is I'm trying to learn to use Copic markers, but I also want to apply proper lighting. And that can be complicated because of course, learning has its own theories and its own nuances. And so you definitely want to take a more simple approach when you're starting out with your carpet markers. Just really working light to dark, putting shadow where you feel it should be shadow putting lab where you feel there should be learnt. But kind of working in a more general sense, not a specific directional lighting since. So as I've worked through this piece, I have applied the E double 0 for the base. I'm going to work up into e to probably also have, I think easier or for their own no, it's not easier. Afford to read 12 that I use to dock in my shadows, that I've applied with easier or two. And then our work up to the form which would be the darkest of the shaded area does. It's kind of a red earth tone. And it's a pretty good general Caucasian color scheme, which you can play around with the colorless blender or the sum of the yellows, Latin, it'll 10 a little bit more if you wanted to. When you're working on drawings like this at this particular scale on an A4 page, you really have to be careful in using the tip of the markers a lot just to make sure that you're staying in the lines. I think even, you know, you could be doing art for 20 years. Staying in the lines can still be a challenge at times. So definitely make use of the fact that the Copic markers have a very pointy tip and you'll be surprised you can do extremely small, thin, little color falls with that tip. When I'm coloring a piece, I will usually try to work from the layers of the actual character themselves. So the kinda, the most background layer in a scene. So the character would be their skin right in, in the clothes are on top of the skin. The hair is on top of the skin. So I work from the back to the front so that I can get the latest building on top of each other in a kind of a bit more believable way. And so of course I'll proceed here to do all the light and the shadow and the base times of the skin. And then I'll move on to the individual elements. And here you'll see, and you'll see this in all the demos really is that key coping technique where we'd go over areas with the lightest color or the previously used lighter color to really get those smooth lens in. And it's really the hallmark of Copic markers that normal Mach is don't really do this, so I'm going to blend so well. But Copic markers are believed to do this using the lighter color is what really brings sort of the Copic magic. You know, in a lot of ways. Coping is kind of this weird painting tool. You really can do insanely detail pane to the type of works with a good mix, which you can scale it up too realistic. Well, very simple uses. If you're really balancing the venues that you're using, the saturations that you're using, you can achieve extremely nuanced, beautiful results with the markers. And so you can retake them quite far. There are very exciting medium and also very fun medium to work in. Here I start working on her top, and it took me a number of attempts on my test blending card to actually figure out which markers would produce the best blamed where we were. I wanted to have this purple gradient going up into a nice bright pink. And the color combinations are kind of somewhat almost counter-intuitive based on the code and learn, right? So you're moving from a 06 value with a red violet into a 0 for value, which it just doesn't seem to make things on the surface of it. But practically it worked really well and they ended up giving a really great gradient to the surface of her top. Yeah. Sometimes you'll have to go over certain blended areas multiple times just to smooth the edges of the market where you're trying to get those smooth blends. And this really is where having thicker paper comes in handy. 200 or even 250 GSM paper. This particular paper is 250 GSM. As I previously mentioned. The thicker the paper, the more literal space there is in the fibers to absorb ink, which means you can just keep layering and layering and layering ink until you get the effect that you want with the blending, which is really, really great. Within a paper. It just doesn't allow you to go more than, say, three to five layers of ink. And of course that's going to limit you and you're layering, it's going to limit you in your blending. And when you need to fix areas or you want a billion areas more, it's just not possible because the paper can hold any more of that dye. Whenever I do eyes, I like to have a darker value at the top of the eyes and a very light. Saturate venue at the bottom and the highs. And often I will bring the color family of the leg, little button section of the iris itself to be the next color family on. So if I was doing the Rs is blue, I would then make that let lattice area at the bottom of the iris, blue-green, maybe even green, right, Moving into the green range that are the lime green range. Because that kind of contrast between the color families really works well, really looks great when you are bringing that contrast to your color gradients. And here you can see me tasting out the orangey, yellowy gradient that I want to use for the goldfish and for the star on her shoulder. And I really need that bright yellow to read well, because it's kind of a focal point in terms of the design of the drawing. And I want that star to be an element that keeps the focus on the character's face and on the character's expression. Here, I didn't use PIPA behind my blending called days, so I actually ended up coloring on the table. But an alcohol swab can clean it up pretty quick. So it wasn't a big deal. It's a really great idea to write down the codes of the colors that you find work well when you're testing blames. And then you can write them down, put them in a different book, or put it on your phone for later reference. Which is really, really useful because if you haven't used copings for a while or you're working digitally, you come to coat back so you're doing some other activity and you come back to kopecks, you will literally forget what blends well like. You will know the theory and the theory is great, but you always have to taste and again, paper to paint on, dry it. So having those codes down is just an excellent way of quickly being able to come up with your cookbooks. Here I'm coloring the goldfish and using those gradients, trying to get the best gradient read out of the markers that I've chosen. And also having to use the tip to just kinda state very accurate. Then I had previously tested what would work well for the blonde hair that I was going for on Gabrielle here. And I really wanted that kind of bleached blonde look and did a few tests on bleeding card. The same as the paper that I'm using here to make sure that it worked well. And it really ended up being a really weird mix icon. Recall off the bat right now what those exact colors work, but it was a really weird mix, having some yellows and then having some earth tones in it. But the key thing is to test, test, test what works. And you usually don't have to use moving three markets like maybe four. Typically you end up using about 30. You base your midtone and then your deep shadows. Just making sure that that lighter tone can blend through the other tones. And at the midtone, the shadow also blend nicely with each other as well. I use the lines of the drawing to help me understand where the darkest shadows would likely be. Because learns, in a sense are a type of shadow run ambient occlusion shadow in a sense or in other sense, is there an occlusion shadow? And that really just means that they are shadows that are the result of light being blocked by something, right? I know that typically all shadows are in a sense like that, but occlusion shadows that would include means to hide an ambient occlusion means it's being hidden by the ambient light, the shadows caused by the ambient light reading. So I use the lines to help me understand where a good place to start putting some of the shredded marker would be. And you can see that the effect is quite pleasing and quite believable for the staff. As for Gabriel's color scheme, this undecided as part of the design process of the character before I'd even drawn the character. So I will usually do research, thinking about the expression of the character, the elements in the scene. The Poe's hand posing the facial expression, as well as the clothing and outfit that's suitable for the mood and also the color scheme. Because another, the color scheme vote is, in some sense it's a very superficial thing. And I mean superficial, isn't it? More on the higher level of the, the illustration Mike, it's one of the last things you do in demonstration in some sense. But I did do some color scheme research and looked at some color schemes that are thought would suit the feeling of the character and the personality of the character. And so my copic marker choices were just on what blended. I had to cut a scheme. And then from that color scheme, I built out the markers and the blending of the gradients that match the scheme that could then blend well together. And I think on that note, research, researching what you wanna do is something that is largely underplayed in the art world in general. But research is critical. Having a plan and a direction that you want to move in before you start actually working is so critical, it helps you save time, but it also gives a more depth to your work and more meaning to your work because you've put a lot more thought into all of those little nuances lacked cut a scheme like clothing design and how that matches personality and things like that. So it's not just about drawing great images, but the images themselves are really well-informed. The color is ready, well-informed. And even to some extent, I could have done even further research on lighting and taken back even further and done slightly more dramatic lighting and less flat lighting in this piece. This is a very much kind of what I would call it globally illuminated type of lighting. It's very general. The last source is not super clear. You don't see tons of cast shadows everywhere telling you, you know, for definite certain with the light's coming from. So it's more of a general kind of learning, you know, well-lit learning. But typically, you'll want a lot. Have your characters lighter at the top and slightly dark in the bottom, just because that's what we see every day, right? The sun is above us. Latin rooms are usually typically above us. So we usually tuplet. And then I wanted to go for a DynaMesh can't overlook on pants. And it's not quite a blue denim jeans look, I didn't want that blue to compete with the blue of the bubbles water of the fish. And so I went more into kind of blue-green range here and turned out pretty well, Uh, got to get that, the shadows to read nicely. And again, it's that balance of like don't go too dark too quickly because once you go dark, there's no lightening it up. And then as I kind of start finishing off, the color falls, I have a dark red into a lighter red gradient in the mouth. I do kind of a lightest pink for the lips. I make sure to leave space for the teeth that I had drawn in because I want those to read. It would look really strange if you didn't have teeth. And then I'll also go ahead and use the color scheme colors in V hair band that she has holding her ponytail. In terms of the team. Then when I finish off the piece, I use a kind of a weird pink pen that I bought in Japan, which is effectively the same as copic, opaque white. It's really a forward slash, a, you know, kind of correction type of pen in a way, although this one's specifically for manga, but it's that type of device, that type of tool that is basically going to give you white paint. And I use this to create those really bright, sharp, hard edge highlights on the eyes, on the bubbles. And then I'll also come and do little highlights on the lips as well, just to bring that extra pop and make it seem like she's wearing maybe glossy lip lipstick. A key thing is to not go too crazy with using these highlight techniques because some people will then go ahead and put highlights on absolutely everything. And either it ends up that everything on the character looks like it's plastic and shiny. Or there's just so many dots that There's no more contrast in the image. And so it doesn't make sense anymore. It just looks like there's a lot of white dots on the image. So you really have to have balanced with that. Also take my pink pencil here and just soften up some of the harsher lines of the dark black ink. And that is in a nutshell, the commentary of the piece. Gabrielle, hope you enjoyed this and I look forward to seeing you in the next one. 29. Conclusion: Congratulations on finishing the course. I hope that you've had an excellent five-star experience while you've moved through this course and learned to use Copic markers to the maximum potential. If there's any suggestions for improvements you have for me to make to the course, please do. Let me know. I'm very happy to add them and also to expand the course contents, perhaps in directions that are made myself not have thought of yet. It's always a good idea to revise what you've learned. So be sure to revisit any of the modules at anytime if you're unsure of a particular technique or usage of your coping markets. Other than that, I'm so grateful and thankful that you've taken this course. I hope that I have served you well and I'm excited to see your work in the Q&A, so I'll see you in the next course.