Colouring With Markers - Create Texture & Effects | Bärbel Dressler | Skillshare

Colouring With Markers - Create Texture & Effects

Bärbel Dressler, Pattern designer & history nerd

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17 Lessons (1h 21m)
    • 1. 1 Intro

      1:36
    • 2. 2 Welcome & Overview

      4:49
    • 3. 3 About alcohol based markers

      4:18
    • 4. 4 The colorless blender

      4:07
    • 5. 5 Fix mistakes

      4:21
    • 6. 6 Exercise 1 - Moving color

      3:21
    • 7. 7 Brighten a color

      3:07
    • 8. 8 Exercise 2 - The shoes

      8:25
    • 9. 9 Create textures

      4:05
    • 10. 10 Exercise 3 - The bracelet

      4:41
    • 11. 11 Fade to white

      5:08
    • 12. 12 Exercise 4 - The pearl earrings part 1

      7:23
    • 13. 13 Exercise 4 - The pearl earrings part 2

      6:37
    • 14. 14 Class project - Create your illustrations

      6:46
    • 15. 15 Class project - scan, isolate & assemble

      9:24
    • 16. 16 Show your work!

      1:24
    • 17. 17 End note

      1:03
11 students are watching this class

About This Class

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ABOUT THE COURSE

Because of the diversity of professional markers you can use them for so many types of illustrations: fashion and beauty, technical and industrial, comic and manga, book & magazine and commercial illustrations.

In this course we take the next step in learning how to use professional alcohol based markers - this time to add depth to our illustrations with more shading, reflections and creating all kinds of textures.

The class focuses on the very specific marker called the (colorless) blender, that was briefly introduced in the introduction class ”The fundamentals of coloring with markers”, but this time you will get the full on program on this useful tool.

The blender is an essential tool if you want to create life like illustrations with texture, reflections and seamless shading. But a lot of people starting with markers misunderstand it’s purpose and start using it the wrong way, with the risk of messing up their illustrations and end up not using it anymore. Which is a pity since you can have so much fun with it and create really cool effects.

In a handful of fun exercises you’ll practice using the blender and it’s features and at the same time create a bunch of illustrations that you can use for different purposes - like adding them to an illustration portfolio, uploading as artwork to print-on-demand services like Society6 and Redbubble for example or use on your social media platforms.


WHAT YOU WILL LEARN

• How alcohol based markers and the blender are constructed, explaining the DNA of the two ink versions on the market, their components and differences between them.

• What different nibs that you can get for the blender and what you can do with them.

• The most common misconceptions about the colorless blender and why they exist.

• How the blender really works.

• How to fix mistakes with the blender.

• Three techniques for creating depth and effects with the blender.

• How to create life like and commercial illustrations that you can use for all kinds of purposes and also include in your portfolio.

LEVEL OF SKILLS

This is a beginner to intermediate class about using professional alcohol based markers.

If you have never tried markers before and need an introduction or just want to refresh your skills, I recommend you take my course about markers ”The Fundamentals of Coloring with markers” first. In that course you will learn the basic stroke and coloring techniques, how to use layers, basic shading, how the color system works and get some exercises to practice using markers and this will get you started.


MATERIALS YOU WILL NEED

1) A pencil and eraser

2) Marker paper, that doesn't bleed through. 

3) 7-12 markers of various colors:

- At least one natural blending group with 2-3 different shades

- 3-4 grey tones - with at least one light and one mid tone

- 2-3 very bright shades, anything from 0000 to 00 is great

- Any other colors you have available and useful for your class project

4) Optional: A fineliner if you want to make a contour or fine details in your illustrations.

5) For your class project you can use a row of inspirational sources like pinterest, google, brand websites, magazines and products you have at home.

6) A scanner to digitalize your illustrations.

7) Adobe Photoshop where we will edit and assemble our illustrations for the class project.

8) Optional: Adobe Illustrator for creating an inspiration board for the class project.

9) Optional: Instagram - If you want to, join me in displaying all our illustrations and class projects on Instagram too, by using the hashtag #MyTrendCollage.

So let's get started and have some marker-fun! See you in class :-)

/Bärbel

Transcripts

1. 1 Intro: Hi, I'm babble at Bearable Productions, and I'm a pattern designer administration artist. When I create my administration's. One of the media's closest to my heart is alcohol based markers. They are easy to learn how to use, and you can create great effects with professional markers. But there is a one specific marker that can be difficult to understand how to use. I'm talking about the colorless blender or the lender. The blender is actually surrounded by some misconceptions about what you can do with it. You would think that you can use it to blend colors right? Well, wrong. In this class, I will address those misconceptions, straightened them out and show you their real features of the blender. And in a bunch of fun illustration and coloring exercises, you will learn how to use the blender in different ways and also get to practice on you techniques. I have designed the exercises and also your class project for this course in a way so that you can use those ministrations outside of this course to, for example, you can include them in administration portfolio. So come join me, learn more about markers on the blender, and you will graduate from this class with a bunch of professional looking illustrations 2. 2 Welcome & Overview: hi and welcome to class arm Bar Bell at Bearable Productions and on the Pattern Designer administration artists from Stockholm, Sweden. And I'm so happy you want to join me in this class about covering with markers, and this course is going to be about a very specific marker and what you can do with it and that is the blender or the colorless blender, as it's also called on the blender, has many uses, but there are some common misconceptions about what a colorless blender is and what you use it for, and one reason for that could be the name itself the blender, because it's actually quite misleading. But in this course I'm gonna teach you the what and the house off the color less blender. This is the class for all kinds of levels. Beginner, semi beginners and even seasoned marker. Users can pick up a thing or two. If you are a beginner, though, I recommend that you take my first class about coloring with markers. It's called artistic illustrations, their fundamentals of coloring with markers, and in this class you'll get all the basics you need to get started. What markers are how the color systems work recommendations on what Markus to start with, and the basic coloring techniques and learning about the colorless blender and how to use it is also a part off the basics. But it's better if you have start to get to know this media bit first before you start using the blender, this is what we're gonna cover in this class on what you will learn, what an alcohol based marker is, and this is essential to understand how to use them and make use of their characteristics. I'm going to talk about the common misconceptions about the blender and then how it actually works and what you can do with it. I'll touch on different types of blenders or rather, the different Nibs to use after that will dive into the different uses with some exercises where you can practice each feature at your own pace. And last but not least, I will give you a fun assignment as your class project, one that you can use to broaden the scope of your illustrating skills and something that you can also include in an illustration portfolio. We're gonna make a collage off colored illustrations like a trend page in a glossy magazine , but more on that later. For this class, you will need some markers of different colors, and you can use as menace you want, depending on what theme or what products you want to create later on in your collage. But you're gonna need at least one natural blending group within a specific color group of your choice. And if you don't remember what a natural blending group is, you can rewatch lesson three and 11 in my other course, the fundamentals off coloring with markers. If you don't have many blending groups with three or more shades, you can get pretty far with just two shapes within the same blending group to and in some of the exercises, I'm gonna use just two shades in a blending group. Another great resource for the exercises is a bunch of really light shades. Everything from four zeros to two zeros is very useful for the exercises were going to do. I also recommend that you have two or three shades are great. No need for 50 shades of grey. Here. You also need a colorless blender of some sort, and if you can get both a standard one with a small ballpoint tip in one end and also want with a brush nib in one end. You need paper to off course on. You can pick any of your favorites if you have any. I have been using a paper from Kansan a lot. It's their marker pat called the wall off 120 grams, or £135. It's a bit thicker and sturdier, and the color will not bleed through to the other side with this one, and I use an A four size. For the exercises, I will use a larger sized paper that co pick marker pad, which has thinner paper. Only 70 grams on its A lot flimsier, but it will work well for what we're going to do. You also need a pencil and an eraser, and you can also have a black fine liner at hands, too, in case you wanna use that for contours. So if you're ready, let's get this show on the road 3. 3 About alcohol based markers: So in order to understand how the colorless blender works, we need to get some facts about what an alcohol based marker really is and how it works. So here comes a short chemistry lesson. Inside the marker is a liquid and a color substance. It's the ink, and the alcohol is the vehicle or medium that carries the color substance and transports it through the nib and applies the ink onto the paper. And then the alcohol dries or evaporates, leaving a coat of color. The alcohol and alcohol based markers are either ethanol or isopropyl alcohol, which is also found in cleaning products like alcohol rob and Handwara. And because alcohol is used as the carrier and the binder and not water, the color will be permanent. The color substance in an alcohol based marker can be either off dye or pigment. So what's the difference between dye and pigment? You wonder well, A way to explain it is to compare them with mud and sugar water. If you scoop up a cup of mud water from a mud pool, the water is brown and you can see that there is dirt and small particles dispersed in the water, and if you would set the cup on a shelf on, leave it alone for a while. Those particles will settle and fall to the bottom and be separated from the water. This sort of mix is called a suspension, using chemical terms, but if you makes a spoonful of sugar into a cup of water, the sugar will completely dissed old into the water. And if you leave it for a while, you won't get a layer of sugar particles settling at the bottom. And, chemically, this is called a solution. The sugar. The soul ute is dissolved into the water, the solvent to form a solution. Now, how's that for a school throw back for you? So pigments are like the mud. Finally, ground particles off color, which are suspended in the medium. In this case, alcohol to create the ink and dies are chemicals on like sugar. They are dissolved in alcohol to create Inc. The effects and differences this means is that since the pigment in consists of small particles, they can't go past the fibers on the paper and when they are applied onto it because they're just not small enough. So since they're not physically bound to the alcohol. On a molecular level, the fibers are physically stopping the particles to travel through, so it won't sink into the paper, just stay on top. A die, on the other hand, is bound to the alcohol and will chemically bind to the paper and become a part of it. So what does this mean when it comes to markers? Well, most markers, like co pick and pro markers are using dye based ink. But recently more pigment markers have appeared on the market, with examples like the pigment marker from Windsor and Newton. The differences and effects are that since pigment markers sits on top of the paper, they are more opaque. Diet based colors are more translucent, so mixing colors off die usually gives a better blended result. While pigment colors can often look money, a pigment color does not bleed through the paper or fade as easily as the diet collars. Two markers with die based ink tend to fade when exposed to natural or artificial light, so it's important to protector originals from light by using UV resistant glass or archive them in a way so that they're not exposed to light. In the next segment, I'll talk about how the blender works and what you can use it for 4. 4 The colorless blender: There are some common misconceptions about the colorless blender and what it does, and in this segment I'm going to straighten them out and talk about what the blender really does. But first, a little note on the blunder color code. So if you have watched my first course about markers, the fundamentals off coloring with markers, you know how each marker has a number and name that indicates the color, family saturation and shade. And this is a code based in some way on how the colorist mixed. For example, with Cho picks, the letter or letters say what color group it belongs to. And the first number. What saturation? The lower the number, the more saturated it is, and the higher the number, the more grade seems, the third number indicates how light or dark the color is. When it comes to the colorless blender, the number is zero naturally, since it doesn't contain any color at all. As you know, markers come in different versions and with different kinds of Nibs, and the same goes for the blender. There is the standard version, with a small ball pointed together with the chisel nib, and there is a brush knit combined with the chisel. Live also, and they all can help to create different effects, as I will show you later. But first to those misconceptions. The first misconception about the blender is that it's used for blending colors, but it doesn't so if you can't use it to blend colors, why do you use it for Well, we'll get to that suit. Another misconception is that you can erase color with it, but that's wrong, too. Once a color or a dye or pigment is applied to the paper, it stays on the paper, all thanks to that sticky alcohol. And it's also whites cold permanent. Remember, because the secret about the blender lies in exactly that the alcohol or actually this sold and, as it's called, on the weight that the alcohol and the blender works is that it repels the ink that is applied on the paper. It's like if you do that classic, experiment with oil and water, and then pour a drop off dishwasher liquid into the water, and then you'll see how the oil will spread away from the dishwasher liquid. And if you press the nip off the colorless blender to ah colored area. You will see that the colors fleeing away from it, creating a white or at least a brighter spot. The die is going away from the alcohol to the sides, but also through the paper to the other side. And this phenomena is something that we can use when using the Colorado splendor, because we can use it to manipulate the colors. So when someone says that the blender can erase or take away color, what they really mean is that you can use the blender toe push and move the color. For example, if you have colored outside all the lines in your administration, you can use the blender to push that misplaced color back inside the area where you wanted . Another way to use it is to create some cool effects, like frightening a specific area. Or you can act textures to your colored illustration and also help you to create a perfect fade to white in the coming segments. I'll show you how to use the blender in these ways and give you some exercises to so that you can practice creating these effects. First out is to how to fix those mistakes and For those of you who have taken my first marker, of course, it will be a little bit of repetition, but this time I'll dig deeper and give some additional tips and tricks on how to do this. 5. 5 Fix mistakes: way to use the blender is to fix mistakes like if you have colored outside all the line in your in the station, or if you have used the blender for some of the effects that I'm going to talk about later , and the color has sort of spread a little bit outside a word wanted. Then you can come in and use the blender to push it back in. Here is some color that I want to clean up, and first I'll show you with a small ball point nip, and what I do is to start with soft strokes with that name, just slightly. Hold it to the paper and sweep in small movements outside of the misplaced color and you'll see how the ink will try to get away from the Sullivan from the blender and start to move in the opposite direction and then let it sit for a while, letting the sold and do its job before you go back in and you can push it in front off the nib, like using a broom stick. But be careful not to rub too hard, or you'll risk tearing out the paper fibers and make the surface a bit rugged, depending on the paper off course, and to make sure you get rid of all the misplaced color. You're gonna have to go in several times, and you have to be patient and persistent. Let it sit in between and go back a few times before you have pushed back as much of the ink. That is possible. Another way to do this is to use the chisel nip on the other end of the blender and use the short side of it and use it as a little shovel instead of a broomstick on, Shovel it back behind the line. And as before, when you do this, do it a bit at a time. Move a bit of the color and let it rest and dry and then go back at it again until we have moved as much ink as possible. Because some colors are more easy to move and some will be harder on, most of the colors will leave some kind of small residue that the soul and can't get to. The lighter the color, the easier it is to remove everything. One factor that is important when it comes to the ability to move Inc and clean up a mistake. Is the paper off course on Here's That Cancel again the wall, and I'll show you how it will react when I come in with a blender on the edge of this colored square. This paper has a smooth surface on this dark blue color is fairly easy to move, and there is not much ink residue left behind. And here's a piece of watercolor paper and the same dark blue color. And because the grain is much rougher than accounts a newspaper, you would think that the ink would be much more difficult to move. But it's actually not. It's quite easy. Not as easy as the council, though, and after just a little while, it doesn't seem to be able to push it further back in than this, and the paper is really wet from the solvent. But you can see that there is almost no residue left on the area where the ink ones loss, so that's good. Next is an ordinary but a bit thicker printing paper on because it will bleed through. I use a scrap paper underneath with this paper. It's not difficult to move the ink. Some portions are sticking to the paper, and the edge is uneven. Um, it will move eventually, but it takes a bit more work, and as you can see, it spreads to the sides more, too. So you can say that this paper is more unpredictable and it's more difficult to control the ink. Still, when you have worked with it for well, there is not much ink residue, though, and now I have the first exercise for you, and it's just gonna be a simple one where we test out the blender and see how it works and how it behaves on different colors. 6. 6 Exercise 1 - Moving color: So here is your first exercise, where you can practice the different ways to move the color and clean up a mistake. First, let's test how moving a light green or blue works. Make a simple shaped like a circle or a square with a fine liner and confident with a light green or blue with the last number between any zero and to make sure you color outside of it and now attends the different techniques. I showed you to move the ink with a small native circle and push the color back behind the line like a broomstick on. Let it rest and dry in between and repeat until you can't move anymore off the ink. Then do the same thing with the chisel it using that shovel technique I showed you, and you can also use the same thing using the brush nip and just to get to know the different Nibs and the way they work and how it feels to move the ink in this way. Then repeat the same exercise, but with a darker color off blue or green, and see the difference and ability to push it back in. So this was just a small and easy exercise to warm you up. But if you want something a bit more hard core on the same subject, here's another one. That's a great way to get to know your blender marker. Make a bunch of colors watches like this make a wrote with the lightest shades that you have and some midterms on some dark ones with as many other color groups asked You have and then test how you can move and manipulate the egg with the blender. Start with just pressing the nip off the blender to the edge of one color swatch and also with soft swipes. Try to push it into the square and see how the ankle move away from it, and also how much ink residue there will be left. And when you have tested all the colors, you will see which ones are easily moved and which once where you can get rid of everything or that will leave some ink residue behind. And as you can see, the lighter colors are more easy to move, and the more bright and darker colors are more difficult, and some colors will just create a mess when trying to move them like the orange. And also this doctor yellow green. You can actually see how the soul vint off the blender has separated the yellow and the green ink and spreading them around. So not a great color to miss live for this exercise. I used a kopeck marker paper, and I actually think that this one is the worst of all the papers I've tested. It's more difficult to move the ink than the others. And there will be more ink residue that won't be pushed back in the next segment. I'll show you how to Brighton a color, so I'll see you there. 7. 7 Brighten a color: welcome back, and in this segment I'll show you another way to use the color less blender. But this time, how to create an effect because since the blender can move colors, you can also use it to brighten up a color or to create highlights like if you have a colored area with a radiant color like this, from dark to light, with either of lending group of three shades or just one single, and you think that the lightest area came out to dark, then you can write it up with a blender to increase the effect of the brightest section. And you do this by moving some of the ink to get that brighter spot. One thing that might occur when you do this, though, and it most likely will. The first times you do it is that the area where you apply the blender will just become a circle off bright and color and also with a thin rim of color that has gathered at the edges and not make that nice graded effect that you want. And this is something that you just have to practice practice practice because it takes some getting to know to have it work the way you want, because it all depends on how much you apply, how hard you press and the smoothness in the way. Use the marker trying to be as light handed as you can just press slightly or even just touched the paper and do small small movements and flicks outwards. Careful and a little at a time, and let it set in between. See how the solvent does it staying before you continue and let it rest for this specific effect. I think a brush nib is the best way to go. It allows you to do that flicking movement and create a smoother transition. And if the blender does create that, gathering off die anyway. And little tip is to come back with a color marker and with flicks smoothing it out a bit, and that will make that rim disappear. Another situation for brightening a color with a blender is if you have a motif colored with only one shade, and now we want to have some highlights in it. So here's a little flower. Forget me not, and I want to brighten up the pedals in some places to give it some highlights so carefully . Carefully, I apply it the blender a bit at a time and then let it sit and let the solvent do its job. And then I go back until unhappy with the result and important used. The small strokes apply a little at a time to avoid too much gathering off the fleeing ing surrounding the highlighted area. Next, I have another exercise for you where you get to practice this effect. 8. 8 Exercise 2 - The shoes: for this exercise. I want you to try this to buy coloring and adding highlights, too. A shoe. It could be any kind of show that you want Flats high hails from the side or from above on . The lesson here is to emphasize the spot where the light hits it and is reflected and giving the shoe life and make it sort of pop from the paper. And at the same time, we'll practice some shading to. So for this you'll need just a few colors first, the color you want your shoes to be, or just a color that you have. Pick a Midtown, though, and I'm gonna use this sort of denning blue color called B 34 or Mangga knees blue, and then you'll need a couple of great owes for shading one light and one Nitto, and I'm gonna use the n one and N three. You also need one or two complementary colors if you want to color the inside off the shoes or the hell or any applications, for example, and my complementary colors will be a couple of light earth tones, E 31 E triple zero, and a tip is to test out the colors first, to try to make a highlight and just to see how the blender will affect it. And now let's start sketching stern out with sketching the rough shapes of the shoes, the outlines and any details and then bit by bit and hands those lines to find them further until you have a distinguished outline that you're happy with. Then go ahead and erase the excess sketching lines and try to make the outlines off the shoes as thin as possible. Because otherwise the lead of the pencil might contaminate the color and make it look a bit dirty, especially if you have chosen a lighter shade or an earth tone or a yellow color with a blue I've picked. It won't be any problem at all. It's too dark to let the pencil lines shine through. Then start coloring by laying down the color you want for your shoes make and as even coat of color as you can, but where you want your main highlights to be, you can go over where the marker with swift flick strokes like this on keeping the code of color quite soft and light in this place because that will make it a bit easier later when we come in with a blender. But don't leave any areas completely white for this example. Now grab the blender and start brightening up. The place is where you want your highlights using small and swift flicks with the blender and remember to do just a little bit at a time. Press the nip slightly to the paper and so that you don't release too much of the solvent at a time on Let it sit and dry in between on. Then go back and work on it again, smoothing and even at the blue or the color that you have. And don't press the blender too hard to the paper, applying too much of the solvent at a time because that will just create that. Bring Andi. As you can see, I have that ring. It's a bit on, even at the edges in my illustration to. But let's fix that by coming back in with the blue marker and with flicks toward the center off the Brighton area. Smooth enough that rim and even it out. And that will make the transition from the blue to the highlight look great, and I'm gonna have another highlight over here at the hell off the shoes and then color in the other shoe if you have one. Because if you've chosen to make a shoe from the site, then it's enough to have just one shoe, I think. And then when you have colored in, use the blender again for brightening the color for that highlight and smoothing and even out any gathered Inc with the color marker again using flicks. Now it's time to create some death in the illustration by adding shades on for this, I'll start with the lightest shade of the two gray tones. I've picked the neutral, great number one, and I'm applying this along the edges and areas that should be darker. And this is sort of the transition off the shade because then I used the darker, off the grace the neutral gray number three in my case and enhanced that shade deepening it , and this will make the shoes look more realistic and sort of pope out from the paper more. And when I'm happy with the shade, I'm switching over to the darker off my to earth tones. The E 31 in my case, and start coloring the inside of the shoes, the soles, and I'm trying to create an as even coat of color, as I can, without saturating the paper too much. Yet because then I'm going back to deepen this color in some places where I want the color to be more saturated to create the impression of a shade and also depth, like here in the front, at the toes and at the heels. Next I'm grabbing the lighter earth tone, the E triple zero, which I will use for the inside side off the shoot. And no, I want to bring in some more depth and shade to the insights of the shoes as well, so I'll use the end three again on with Swift flicks. Apply to the places where I want more shade on. I'll do the same thing with the side inside, but first I'll use the lighter grade and want for this because the earth tone is so much lighter. And then I'll go back and deep in it with an three as well. And for the final touch, if you can apply a logo or tag for your shoes, and my shoes are just some imaginary shoes. So I put down my own logo there using a brown fine liner. But if you have depicted a shoe or a pair of shoes that does exist in real life, put down that logo for that brand, trying to copy as best as you can, like I did with that deck Lior Facial cream because this can come in handy and I'll show you later in the at the end of this class. So this waas another way to use the colorless blender to brighten a collar, and in the next segment, we're gonna do textures. 9. 9 Create textures: Now we have come to my favorite part of how to use the colorless blender, and that is to create textures on creating textures means that we will take advantage of the fact that the die in the colors will try to escape the solvent from the blender. And we will make this work for our purpose, for example, and this is the most simple one. You can create brighter dots on a colored area, so instead of creating spots by coloring around an area you want to keep white or brighter . You go in with a blender like this, and here I'm using the small ball point and just slightly hold it to the paper with not much pressure at all on the ankle flee away from the solvent. Creating this dot You can make them tight together or with more space in between, or perhaps overlapping of it. To create the impression of different textures. Like I did on this shoe, I wanted to create the impression of a surface covered in sequins. Or it could be a leather printed with metallic colors. Perhaps so first I made this gray agent with light gray and darker grey to create this shiny part, and then I used the small ballpoint tip blender and pressed lightly to the paper. To make this impression, I had to go over and do it a couple of times to make the dots more clear. Here. I'm using the brush in it for the same effect of creating dots. On this leaves the slightly more even dot I think you can also use different Nibs to create all kinds of texture. Here I'm using a brush nip again, making lines or stripes and sweeping across the colored area once first and let it sit. Do let the solvent do its job, then repeat to applying more solvent and make the strokes even brighter. The more solvent you apply, the more ink you will move away from that line, and you can make a play pattern to with crossing lines like this. Another type of texture you can great is with the chisel. Live with the broadside off the tip. You can create a brick pattern or texture uh, on and now you might get the idea of it'll. The limit of the textures you can make is just how far your creativity or imagination will take you. You can make up an endless amount of textures. You can play around with the different mids, turn them around, used the short or the broad side of the chisel. Nip, for example, and used them in various ways. You can create diamond shapes, or you can create scales, and you can create all kinds of different styles. So your imagination is the limit, and this is a really fun way to use the blender. Before we start with the actual exercise of the section, grab a piece of paper and make some solid colored squares like this and also a Grady Int color and try out and practice the texture techniques I just showed you. Try the different Nibs and see what you can make with them. Just play around a bit. Also see if you can come up with some new of your own, and when you have done that, I have a fun exercise for you. 10. 10 Exercise 3 - The bracelet: for this exercise. We're going to make a bracelet with a textured surface, and you can choose any texter that you want. I made this one with dots. First, let's sketch, um, outlines. Create the shapes off the bracelet on. And it's one of those chunkier bracelets, and I'm making this right next to my shoes. And when you have those outlines done, it's time to lay down the color. I'm gonna use the same Blue asked for the shoes because it's gonna be sort of a color theme here. I guess I'm starting with the border and then working toward the middle with flakes, following the shape of the bracelet to get that rounded shape that I want a highlight on the left front side of the bracelet. So I'm making my flex toward that and keeping that highlighted space almost untouched, just making a very light coat of color in that area using flicks. Then I continue with inside off the bracelet, coloring the whole thing with an even coat off the same blue. And since it's on the inside, it's gonna be more shaded. And so I'm making a quite saturated in solid coat here. Then I get the same great mid tone as before with the shoes the end three and start applying this from the edge, following the curve again to give the shape some depth on the same on the other side. And this gives it an almost metallic looking surface right. I keep working on it bit by bit, a little at a time. Let it sit in between trying to mold that shape with the shade, and I need some shade at the bottom two to enhance that rounded impression, and I'm adding a little bit more off that blue to dark and it even more and creating a glossy impression. Now I'm adding some great to the inside as well, adding shade first with a lighter off the two gray to create a good transition. And then I come in with a mid tone grey in the corner, so to speak. If a circle can have corners too deep in the shade here and make it more three dimensional . Oh, and when I'm policed with the base colors, I commit when the blender finally and to create that texture this time I'm using the brush nip and I'm making small dots by pressing slightly to the colored area for a couple of seconds each time to release some of that soul into to the paper. And I'm making them sit tight together to create a look that will resemble ah hammered metallic sort of. That's what I'm after. And here is the finished result. I made one more illustration to show you how you can work with textures. Here's a scarf or a napkin, perhaps with a very light blue green and some light grey for the shaded parts and with a blender, I have created a subtle pattern off corals. I don't know if you can see it properly, but here's another image that maybe is a bit more clear. And here's that same type of pattern on a red color that's more visible. It's easier to get a glimpse out. So this was about creating textures with the blender, and I hope you really enjoyed it. Next, ISS how to create a perfect fade to white 11. 11 Fade to white: Sometimes when you color with markers, you're gonna want to create a Grady int shade, where the lightest shade is fading into white instead off a very light color shade. For example, when you want to create a very bright reflection, or if you want to color something that's supposed to be white, the technique do color. Something that's white could probably be a separate course. But here's a quick lesson about that on how to create that perfect fade to white. When you want to illustrate something that is completely white, you don't color it white because there is no white marker. Instead, you give your ministrations and bit of a shade and then leave the rest untouched. And then you want this shade to fade perfectly into the white without any border or visible transition. The same goes for creating the effect of a reflection in a colored object, like in this bronze looking bracelet. To get that perfect, borderless transition from the shade of the color, you use the colorless a blunder. Let's start with a simple example. A circle that I want to turn into. The whites fear it could be a marble or snoble or something on for this one. I'm using two shades from the co pick blue color group, the B 02 called the Robin's Egg Blue and the B double zero called Frost Blue. And usually when we create a Grady and color, we start with the lightest shade and then work towards the darker right. But now we want to do the opposite. So I'm starting with the darkest one, laying down a coat of color along the bottom right of the circle, where we want the shadow to be something like this. And for this I just need a fairly thin area off the darkest shade. Then I grabbed the lighter shade, the be double zero and start applying that color riot on the border off the B zero to, and I'm trying to blend them a bit and soften up that darker shade. And now I also go all the way in all that darker shade, which is not something you do otherwise right when you create a Grady Int using three shades in a natural blending group, because then the lightest calories off the lightest marker, not white, but here it will be white and to create that perfect transition the fade to white. I want to make the shades melt together, so I'm working with the lightest off the blue shades, softening the darker one like this. And you have to do this a couple of times or several times, and also let the Inc sit and rest in between. What you actually do here is pushing the ink toward the edge and then also toward the white . And you can expand the area off the lighter shade using flicks, which will make the next step a bit easier. Then get the blender and do the same thing as you just did with a lighter shade. Start applying the solvent of the blender on the border off the lighter shade, softening and brightening it up. And then you go further into the darker shades, softening and frightening them off and at the same time pushing the ink around and to the edge. I prefer to use the brush nib for this and just make small movements. Don't press too hard. Just really careful and bit by bit, work this area and let it sit in between. That's very important and see how the solvent does its job and then continue so more if necessary and voila, a perfect faith to white. And now you try the same thing. Make some circles and cover part of it with a darker shade. First on, then the lighter softening and brightening up the darker one. Then do the same thing with a blender and go all the way in into the darker shade to and tried different types of shade warm, cold and gray end with different colors like this. And then I have on illustration exercise for you, where you will get to use this technique. 12. 12 Exercise 4 - The pearl earrings part 1: for this exercise, we're gonna illustrate a pair of pearl earrings. They're quite simple in shape, but let's focus on how to create that pearly shimmer and muted gloss, which is a perfect effect to use the color of this blunder for Okay. First, let's sketch the outlines on for this one. I'm making it simple by just using something around to create the pearls. And here's an egg cup. But I'm using, by the way. And then I want to have the this attachment or the start of the earring, but only for one of the hearings. The other one is going to be sort of behind it and not visible on. This is the little clip to hold the hearing in place and now to the other pearl right next to the 1st 1 And I'm gonna have some shadow over here, here and here, and I'm just marking that area softly. I have also marked the areas where I want the reflections to be in the pearls. I'm going to start by coloring the pearl, and for this I'll use a couple of gray tones. You could make a light or a dark pearl, and this is going to be kind of a dark one. So I'll use my neutral gray number three and number one and also the lightest gray 1/2 which is the cool gray number zero and the blender. Of course, I'm starting with the darkest shade, the neutral gray number three and I'm just marking the border first. Why? I want the darkest shades. And then in between those reflection areas that I've marked, I'm adding some more off the darkest gray and you just have to get some ink onto the paper . And don't bother too much about how even in looks, because we're gonna smear this around a lot later on, just getting down in those areas. Then I'll switch to the mid grey, the neutral gray number one, and I start applying the ink right on the border of the first gray, smoothing it up and blending them together and go all the way into the darker tone towards the edge and do this along all the borders off that darker grey and go all the way into blending and smooth inning. And when you have smooth and all those borders, you can continue with this mid grey and extend the shade along the edge off the pearl. This will create the impression off roundness, making it look more three D. And I'm continuing to shade some or almost all over just leaving some areas surrounding the reflections that I marked. And I'm also continuing to smooth and the darker grey with this mid grade letting this ink sit in between. Next I'll switch to my lightest gray, the cool gray number zero, and start doing the same thing, starting with a border of the mid grace, moving ing and softening. And then I also go all the way in the previously colored areas off the dark on the mid grey . And this will smear the three colors together beautifully, creating an almost marbled effect, which is perfect for this pearly look that we want to accomplish. So I'm working with a lightest gray on the border of the untouched and the mid grey area first, then coming further and further into the darker grey, and you have to do this repeatedly, letting the inks it and rest and do its job in between and then come back again and again until we have a really smooth gray. Grady int. I'm also careful and trying to leave the most of the marked reflection area untouched, and now I'm using the color this blunder again. For the last step off this gray area. I'll start right on the border between the lightest gray shade on the white, untouched reflection, softening and smoothing that light gray. And I'm pushing the ink out towards the edge as I go, and this will create that perfect fate a wide eventually because I have to work on it for a while to accomplish that. So now I have smooth and the whole area, but I feel that the white area has become bit too dark. I have pushed too much of that light grey out into the white while I was smoothing this up . So now I want to brighten it up a bit again by going back with a blender and start pushing out that eight towards the edge. Some more on my blender is getting a bit dry and actually needs to be refilled. Um, but I'll see if I can manage anyway. Then I'll continue and do the same thing on the other reflection area, and when I'm satisfied, I'll start with the second pearl. I have already started to apply that dark gray tone along the edges on between the reflection areas. Then I get that mid grey tone and start applying that on the border off the dot grade, smoothing and blending them together. And then I continue all the way and on the dark rate, working towards the edges and the middle of that dark gray. When I have smooth and and blended the two darker grey, I'll continue with a cool grey zero. Again, I'm smoothing and softening and blending and brightening at the same time, all three grades together and always working outwards toward the edges. Finally, I get that Lundergan and start on the borders to the white area, working into the great and toward the edges on the middle of the grey area, softening and bright ning on, creating that fade to white. And don't forget to. Once in a while let the solvent sit on, watch what's happening with the ink and then go back in and continue there. I'm satisfied with the great colors and the fate a wide for the pearls. And now, for a final touch. I don't want the pearls to have a hint of color, too. And not just gray. This pros are shimmering with all kinds of color. When you look at them on here, I'm going to add a very light shade of a town color the e triple zero. And I'm just gonna apply a little bit of this into the gray just to create a shift. And I'm using just Swift Flex to apply this on both pearls there. I think that looks good and gives the pearls more of a non organic look and feel. 13. 13 Exercise 4 - The pearl earrings part 2: then it's time for the stud or what it's called. It's gonna have a shiny gold look, and this will be a little bit more advanced color. And to accomplish this golden look, we're gonna need a few different colors. And depending on what markers and colors you have at home in your collection, you can see if you can match the markers. I'll be using as best as you can. The first marker is a very light yellow. This one from co pick is called Wyatt Double Zero, and this is going to be my base color. See if you have anything similar. Ah, light yellow or light yellow, red or earth tone could also work, but it should have at least a double zero and not higher. That second collar is an orange or actually is a darker shade of the yellow yellow number 17 and this will use to add that warmness in the reflection. Third color is a mid earth Joan E. 31 this is gonna be great to bind the different shades together and see if you have anything similar. I think anything from e 11 e 21 e 4 to 1 e 51 could also were The fourth marker I'm gonna use is another earth tone, the E 71 on with this one on the last marker there, e 74 we're going to create the darkest part of the gold reflection. And this will also make the hearing sort of pop out from the paper a bit more to create that three D look. Last but not, please. We're gonna use the blender again to smear them all together nicely. And to brighten up some of the reflection, let's start with the base color that light yellow on you can color the whole area and on that will create a great transition between the colors. But with every layer off color you apply, the more saturated the paper will be on risk that the last colors will use will just start floating around. So I'm gonna just color some of the areas where I want the brightest part of the reflection to be. And for this study, I'm not gonna have any white in the reflection. I'm still coloring most of the area, but I'm leading some parts where I think the shade will be the darkest and I'll have most layers. Then I'm grabbing the orange marker on. I apply only a little bit here and there in the yellow and do it in a couple or three stripes like this from the center off the start, out toward the edge and also a little bit on this thin rod. Then I commend without mid earth tone, right on the border of the orange pink, softening that up. I also lay down some of this where I want the darkest part to be and with the same one. Also go out toward the edge and follow the edge of it, and that will add a roundness look. And as you can see, it's already starting to look like gold. In the clip, I'm adding this midtown on the inside, where it's supposed to be darker. Now I have the darker earth tone, the E 71 and I'm applying that similar to how we use the orange, create a stripe or a cone shaped from the center out toward the edge and also bid along the edge. And now it will start to get more of that three D feeling to it on where the darkest shade will be, and it's really easy to overdo it here. So be careful. Pause and take a look at it now and then to get a feeling for how it's coming along on. Remember, just apply a little bit at a time and don't press too hard or apply too much ink on the same spot. Finally, will use the darkest earth tones to have the last touch that will make it sort of pop from the paper and apply just a little bit here and there to emphasize the darkest shades. And I'm also applying some here to create a distinct reflection, but now it looks a little bit rough. So I'll go back in first with the previous color, the E 71 to smooth enough that darkest one, just like you do when you're coloring a gray agent with a blending group, and I do the same with the next one up the E 31 this will soften the borders between the colors even more. I want to make this rot a bit more distinct, so I'm using the darkest shade again toe, add some more death and then go in with a base color the light yellow to bind them all together even more. And at last I used the colorless lender to sort of smear the colors together a bit more and also to brighten up the light yellow. And I'm working from the lightest area toward the darkest so that I won't push any other darker ink into the brightest. Okay, and as a final step, I added some shadow underneath both pearls and the clip by using the gray tones again. The end three on the end one and I used flicks to do that. So here is that finished result to pearl earrings with golden stunt, and I also made another couple, but that's a little bit lighter. So by using less of a darker gray by coloring a smaller area with it, you can create a brighter, lighter look. So that was how to use the blender to create a perfect fate toe white on in the next segment. I have a class project for you where you get to practice and use all the coloring skills that you not process 14. 14 Class project - Create your illustrations: So for this course, you're gonna have to have a fun assignment, right? So I have come up with a class project for you that I think you will enjoy. And I also wanted you to be able to use the illustrations for your class project for other purposes in other areas. So we're going to create something that you can use commercially on to perhaps include in administration portfolio. You most likely have seen these types of collage GIs in glossy magazines, where they have picked out some items like garments and shoes, accessories, jewellery, beauty products make up perfume on home decor all within the trend, a season or a specific color or pattern. For example. It's sort of our curated assimilation off different products, according to a theme. So for this class project, we're going to create our own trend, collage off some selected products and illustrate them and color them and use the colorless blender toe add effects like highlights and texture for that glamorous and flared look. So what I want you to do is to think about a theme for your collage. It could be based on a current trend like, say, jungle motifs or greenery or silver or anything that you have picked up. It could also be based on seasonal trends like a Christmas gift collage or something surrounding Easter Spring and summer or Halloween or any other location where your kalash would be a guide for trendy or current products. You should consider your collage to be an editorial advertisement to find your theme. You can brothy Internet and social media. Look through Pinterest and fashion logs, for example, or just look through some of those glossy magazines. And when you have picked your theme, decide what products you want to include in your theme, and they can be a total mix off all kinds of products, and here are some examples and ideas for you to get started. Ah, theme could be beach necessities, and then you could depict some glasses, flip flops, beach towel, sun cream, a bikini, uh, picnic basket or ah, straw hat, just to mention a few suggestions or a theme could be the ultimate after work back. What would you put in your bag to go straight from job to after work? That could be like, I don't know, high heels, lipstick. Harper. Few. Um a black top to change into or hair spray. Onda male oriented collage could be the bearded guide, and you could then include products for growing and maintaining a great beard. My trend collage is going to be about Beach 2017 on include products that I will present US Beach necessity sort of. And I have gathered a bunch of images from different sources, like product pages from a range of branch sides, because I want my trend collage to include riel brands and products that will open an opportunity to showcase my illustrations on social media and tag those companies. When I create illustrations and collages like this, I like to gather my source materials in terms of images and photographs and magazine tears and other in an inspiration board. And that could be a folder on my computer or perhaps an illustrator document. Or it could be a physical folder or on my PIN board. And then they are easier to find an excess when I'm starting to sketch and to color, and I can have them easily available to refer to whenever I want to. Here is my inspiration board that I created in an illustrator document on from these images . I can then pick and choose which products I want to depict and illustrate. For my collage. I have some some hats, some beach towels. This one's from my Sony and here's Lexington and Pottery Barn over here. And these two are from a Swedish home textile company called him Tex. And I want some sandals and swimwear and a couple of beach bags. The products that I picked are from branch that I like and also actually would like to work with someday. So I'm trying to catch two flights within one blow. So after deciding on the theme on the products and you have gathered your inspiration source materials, it's time to start sketching your products and items and then color them and use the blender to create effects like highlights and texture. - A great addition to your trend collages to out of flour as a decoration and something that can emphasize and also find your theme together nicely. And last but not least, create a headline for your collage with some beautiful hand lettering, for example. So here are all my trend collage illustrations and components. Now it's time to assemble your motifs for the Kalash and that we will do in photo shop. But first we need to scan them all. 15. 15 Class project - scan, isolate & assemble: When you have open your scanner, you'll get this view and for settings, will choose color and 300 d. P. I is fine, and I'll name this one beach sandals. Then click on the drop down menu at image Correction because we need to ensure that the colors and use our picked up the way we want by scanner First, make sure that it's preset, that all those little handles are in the centre Elect this, and then we can start playing around to get the optimal scam for brightness. I want something like this not too bright or the colors will be too faded. The U was fine with pre set, I think, and the temperature. Also, the saturation is fine, too. Like this. So when you're happy with the color, select the illustration by dragging the marker like this and you can adjust this election box by pulling these little blue and red handles and then the press scam it. - When all administrations are scanned and saved, open them up in photo shop, and as you can see here, I have all my scans available. Now open a new document. I'll choose centimeters here on create a square document. I want 30 times 30 centimeters on resolution said to 200 defies fine so that we can use it for different purposes on. The reason why I wanted squared shape is because I'm gonna use it for Instagram. Now let's open one of the illustrations again. And since we scanned them with color, the white background is probably not going to be exactly white. So now we have to cut out the illustration so that we only have the glasses without the wide surroundings. We're gonna isolate the motif, and there are a few tools to use for this. First, I'm going to show you this one called the Magic Wand, and with it click somewhere in the white area. And what we've done now is to select all the white area surrounding the glasses. But we want to select the glasses. So to do that, go to select in the top menu and then to reverse. And now the markers are surrounding the glasses instead. Now the Kahala the glasses by pressing command C on your keyboard. If you have Mac, then go to your collage, document the square document and paste them by pressing command V. As you can see, the glasses are just too big, so I need to scale them down. And to do that I go to edit and free transform. Or you can use shortcut command teeth and then hold down, shift and grab one of the corners and dragged to scale it down. They were, and I'll move it over here somewhere for now, then double click on it to get out of the transform mode and then go to the next illustration. Now I'll see if I can use the magic want again to isolate this one, too. But as you can see, it doesn't select everything the way that I want. It excludes some of the grey shades on the science here. So just to show you what happens if you include the white surroundings, I'll use the rectangle marker. So I'll drag the box like this to select the bag and also some of the surrounding white. And then I copy and then paste into the collage document. And as you can see the white surrounding the bags a bit more grace than the white background and we don't want that so I'll delete this again and Now I'm gonna show you how to use another selection tool. So first I d select the markings I did before by pressing command D. And now I'm gonna try the magnetic less O toole instead. This one over here. So you click with its somewhere on the outline of the item on a border between the white on the color, and then, without holding down the mouse, just slide it along the outline, and it will stick to the colored borders like this and once in a while. You have too quick, though, to secure the marker line. Because in lighter areas, the marker might miss the border and make an unwanted detour and also click in corners and such, because it's good to secure the marker and make sure that it stays there with a click. And when you get to the starting point, a little circle will appear to indicate this, and it will appear right next to the marker like this. And then you'll know that you can complete this elected loop and you do that by clicking on the first marker point you made. So they're the bag is selected and isolated, nice and easy. with the magnetic lasso tool Now copy and paste. And then I'll scale it down with the free transform on. Then I'll place it over here, Hank. Now, I'm gonna go ahead and do the same thing with the rest of my illustrations for this hat. I think the polygon last old tool will work well, since it has quite straight and not so complex outlines All illustrations are now in their own layers. So now I can select every layer and move them around If I want to rearrange my products in my Kalash And now I'll bring in the headline and the flower So here I have my beach Necessities Collage The Beach 2007 Trend Kalash and I'm gonna save it as a PSD file, just in case I want to continue playing around with it another time. And then I'm going to save it as a PNG First I merge all the layers by selecting them and then press command E. Then I'm gonna save it for the web, go to export on Quick Export S P and G and I'll save you to my drop offs for easy access from my film later on So that was how to create an illustrated and colored trend collage. In the next lesson, I will talk about how to share and show your work, so I'll see you there. 16. 16 Show your work!: when you have completed your collage, create a project in the section called Your Project for this class. Here you can upload images off your illustrations on the final kalash so that we all can see what you will come up with. Also, it would be fun if we could gather all our contributions on instagram as well with a hashtag my trend kalash. And when you post your kalash to really show your work and create maximum exposure of your illustration skills, make sure that you also tag every product in image with a brand company name. In that way, they may check out your image and your account and who knows what that might lead to right ? Then also make sure that you include the hashtag, my train collage and any other hashtag you want to include, like the different product names, perhaps, or skill share. And I would also like to ask you to tag me and my account at Bearable Productions so that I will get notified when you have posted your illustrations because I can't wait to see everything that you will create 17. 17 End note: So this is all I have to share this time. And I hope that you have enjoyed this course on that you have learned something new or maybe picked up a trick or two. And if you did, please give me a thumbs up and also give me a comment in the review box. I would really, really appreciate it. If you would like to see more of my work on demonstrations. You can follow me on my Web page and block at Bear Bell, dealt SC or on Instagram at Bearable Productions. And on my skill share, page and profile, you can check out my other skill share classes in classic pattern design and artistic illustrations. So thank you so much for watching and taking this course, and I will see you in the next one or one of my other classes. Take care.