Making Characters Pop: Coloring Skin and Hair with Alcohol Markers | Alicia Hawks | Skillshare

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Making Characters Pop: Coloring Skin and Hair with Alcohol Markers

teacher avatar Alicia Hawks, Illustrator, and mom of 3

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

12 Lessons (1h 13m)
    • 1. Introduction

      2:00
    • 2. Materials Needed

      3:18
    • 3. Getting to Know your Markers

      9:12
    • 4. Planning your Card

      3:09
    • 5. Basic Blending Techniques

      10:08
    • 6. Blending Skin Colors

      5:48
    • 7. Blending Hair Colors

      8:51
    • 8. Stamp Coloring Demo

      5:21
    • 9. Print-Out Coloring Demo

      6:14
    • 10. Illustration Coloring Demo

      8:30
    • 11. Assembling the Card

      9:23
    • 12. Last Thoughts

      0:46
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About This Class

In Class today we're going to be learning how to color 2 difficult things: Hair and Faces.  This class goes over some general blending techniques for blending colors together and then into some specifics for coloring the skin and hair of a character. 

This is a foundational class designed to help you get to know your specific set of alcohol markers, weather you are using a top of the line brand or a less expensive brand this class is designed to help you succeed in adding realistic color to your characters.

This is a beginners class- you don't need any prior experience with alcohol markers to do well in this course.

Basic Materials for this Class

    1. Markers
      1. Any brand 
      2. Something for behind paper
    2. Ink (for printing/stamping/drawing character)
      1. Drawing ink- archival, no bleed
      2. Printer ink- archival, no bleed 
    3. Character that you are coloring
      1. Stamp
      2. Printed out character
      3. Original drawing/Illustration
    4. Paper
      1. Bristol Pad
      2. Bee Paper texture pad
      3. Cardstock
    5. Pens
      1. White gel pen
      2. Black ink
    6. Card/Shadow box (listed below are ideas)
      1. Scrap Book Paper
      2. Stencils
      3. Stamps
      4. Embellishments

 

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Meet Your Teacher

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Alicia Hawks

Illustrator, and mom of 3

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Transcripts

1. Introduction: Hi. My name is ELISA Hawks, Ivan Illustrator, and I love using a combination of penning and alcohol markers in my illustrations. I have always loved the results you can get with coloring with alcohol markers, colors air so vibrant, and they allow you to rapidly bring life to the line drawings or stance for this class, I'm going to go over some very basic lending techniques, combining two or more colors. After that, we'll jump the specifics for coloring the skin, especially the face and finally, the hair of the character. The project for this class is a car that you could make using the character you painted with the markers. You don't need expensive markers to learn these techniques, just whatever you want to use a za long as their alcohol based in the very first lesson, I'll go over the materials that you'll need next. Well, briefly talk about how to plan your card. After that, we'll go over some quick tips on how to get to know your markers. After that, we'll jump into coloring techniques in some general blending tips. I will go over three different color examples, coloring a character that you've stamped coloring character be printed out and coloring an illustration. Techniques are pretty similar, but the approaches are slightly different. After that, we'll assemble our cards. I look forward to sharing what I learned with you over the past several years and look forward to seeing your projects. 2. Materials Needed: all right. Before we get started, I want to go over the materials that you'll need for this class. Of course, one of the first things you're going to need is something to color. You can choose an illustration, or you could stamp one of your favorite stamps, or you can also just print something off line. These two images are available in the resource section of class. Next, of course, is paper. I prefer a textured paper like this simple texture paper, but you can also use a variety of other things. Mixed media paper is really good because it's nice and tough. It takes the markers well. Bristol Paper is also a solid choice. It's got a smooth texture and doesn't allow the markets to bleed too badly. Illustration. Paper comes in a variety of weights, as does mixed media user. Of course, just a few more suggestions. I'm kind of a paper nuts, so I like trying a whole bunch of different things. Of course, there's also card stock, which is really cheap, easy use and high quality. Just make sure to get something that has a smoother finish, not a glossy, just smooth and of course, There's also marker paper and just regular sketchbook. Paper Natural. You need some kind of markers. You can use any kind that you like, just pick something you're familiar with. Or if it's a new set, that's fine, too, just something that you can afford. And then for your cardio going any things like colored paper, any kind you like stamps. If you're planning on stamping on any words Of Course Inc. Any other embellishments that you'd like to use on your card? I picked out a few things here that I think will go well with illustrations, washing tapes, another thing that's very under used for cards and again, more embellishments, more embellishments. I love thes steam, punky type things. It's a good idea to have a set of pens, black and white, at various wits to add detail to your character once we're done coloring it. Also, if you print your character out or use ink to stamp it, make sure that the Incas archival or at the very least won't bleed when you put the marker over the top of it. The last thing that I like having on hand is some sort of project basket, so When you know what exactly is going on your cards, You could put it all together in that way, If you have to walk away from your project, you know all the stuff is kept in one little spot and you won't be chasing around your craft room. That's it for materials. Next up is learning how to get to know your markers a little bit better. 3. Getting to Know your Markers: in this section, we're gonna talk about how to get to know how your markers work. I have three tips slash activities for you to do with them. The 1st 1 is to make a color index sheet the purpose of a color index. She is just to know what your markers look like. It's an easy way. Just look through all of them at a glance. I've included a generic one in the resource is, and you can go online to whatever manufacturer your markers air from, and you can get their color index she and printed out on whatever paper you want to test the markers on. You can make a color index sheet like these examples where it's just by color, or you can do it by color Family, where they don't necessarily line up toothy line of colors that the manufacturer has declared like all the blues and all the greens or whatnot, but actually have more to do with how they work together. Or are they more for skin tones? Are they more for sky? I keep my spectrum do our markers, or I'm starting to in this little notebook where I actually take different pieces of paper that I want to see how the markers look on and I do it by color family in the journal. I go ahead and just glue the little strips right in there with a notation about what paper I'm using and what marker colors there are. This is pale Hughes. This is actually how the set came originally. And it has decided that would be a good way to track what they looked like. So if I'm using any of these papers, Aiken very quickly say OK, that's how that's gonna look. Tip number two's pay attention to dry shift. This isn't a long tip. Here are two of my markers. You can't see the one on the left as well, but pay attention of one of the right. These are completely dried little swatches of color. I'm going to color with my markers so you can see what they look like. Wet right next to it, the shades just a little off. It's a little bit darker, in this case, a little bit greener, almost, and for the red, it comes out super super break through. The magic of a technology were too fast for it. when it dries and you'll see the shift right in front of you from what it looks like wet to dry. This is one of the biggest reasons to have the color index sheet. Tip number three is learning how your markers bleed. Now, in this example, right here I was doing a color that she on a piece of really cheap card stock and you can see the bleeding around the circle. Now, it was good to know what it looks like on the paper, but that blood so badly. And so when I tried to do some blending, you put so much ink down, it just kind of just made this pool and went out everywhere. Another reason to test how your markers bleed on paper is I was working in an illustration several years ago. It was looking great. I left. It came back, and the markers now only had blood behind the paper. It's soaked right back up into the illustration. So I would suggest if you don't want to do a full fledged color index, she at least take a case of the paper that you're going to use draw some sort of boundaries that You know what your markers are supposed to say in this is where I find out my kopeks or broken and you want to color within that swatch. Yeah. No Coolpix. So I'm starting with my spectrum, nor marker and colored within this watch as close to the line as I can, just to see what the bleed is like, I'm actually gonna zoom in and do the spectrum, nor pan that again. Um, I also tested a prisoner color pen. Next is a Windsor Newton marker that I have. I don't have a full set of these, but I got this one as a sample right when they were coming out there actually really quite nice. Expensive, really nice. And the last one I try out on here is a Sharpie. Sharpies don't blend as well as the others, Dio, but they're surprisingly versatile, so don't discount them. And they're probably the most affordable out of any of these. And that's what you dio you and check and see how much of blood behind and see how well stayed within the lines. I'm going to go through several more pieces of paper, but I'm going to fast forward this so it'll be really quick, but you get the idea. At the end, you'll have a whole bunch of swatches that you can use. Also, using a stamp works a little bit better than drawing a circle, because then you have a more defined line. You can also do the line test I filled mine in. But if you do the lion test, you can see exactly how much it spreads out from the tip. When you just do a quick, quick stroke, always make sure that you note down what markers are used. And if you're smarter than I was with this one, make sure you know down what colors you used. If that's important to you for your Swatch test. For me, it wasn't important because I was just testing how well they bled or didn't leave. Even within the world of Bristol and mixed media paper, you still want to test the new type of paper because they treat them with different chemicals and different finishing agents so they will take the marker a little bit different. Not all mixed media the same and not all Bristol are the same. You'll see why this is one of my favorites. It takes the marker so own, keeps it right inside the lines and doesn't bleed hardly at all. Also, you'll notice with some of the papers that the inks will bleed on some papers and not on others. This is just an interesting combination of the alcohol markers with e ink and whatever issues in the paper. And so that's an important thing to Testa's. Well, before you try to finish illustration or stay, do a stamp for a card or whatever you're using. The's techniques for have just a few more swatches to go through, - of course, marker paper market papers. Great, because it's made for markers. The only thing that's frustrating about it is it tends to be a more share paper, which is good if you're tracing, but you have to keep that in mind when you're doing an illustration on it or stamping a stamp. Right now, they're able to swatches when you grab my book again, and I'm actually going to paste them into the book so that I can have this on records. I love having all of this in a small book because something that I can keep in the box with my markers. And if I'm on the go, I have this information without having to look for it. All right. Now that we've finished getting to know the markers better, I hope you sit down to make color next sheet, or at least some swatches. Let's get into planning our card real quick, and then we can go straight into the blending techniques. 4. Planning your Card: in this section, we're going to quickly do some thumbnails to plan out your card. First off, just do some quick sketches. Make your cards in different shapes. Lay out your character on the car differently. Just come up with 45 maybe six design ideas. Have fun with the shape. Try to do each thumb now a little different than the last one. These don't have to be perfect representations of the figure or anything like that. It just needs to be quick and dirty, so you know how your card will look at the end of this project. Once you have your thumb nails done, pick your favorite and scan it into the computer and make some copies of it so that you can do the colors. Watches. You have two ways to do the color swatches. One is you can just pick out some colors you think look nice together and do a little sample like this on the side. Even better than that is to color in your scan. Try some different things. Obviously, your markers are not going to match the papers and assets you have perfectly, but it's going to give you an idea of how the colors the work together. Try some things that wouldn't necessarily go together. Just play with it. The whole idea behind this is to get your mind working and get your bring kind of in a creative space most the time. We think our first idea is the best idea, but that's rarely the case. Usually it's your seventh idea, so it's good to exercise those creative muscles and get us many ideas out there. - Once you have your color layout, go ahead and set this paper aside and gather up the assets that you'll need for making your card. 5. Basic Blending Techniques: For these blending techniques, I have created a worksheet that you can find in the resource section. Make sure you have your color index chart nearby so you can quickly reference the colors were markers. If you haven't already picked up the ones you want to blend for these techniques, we will not be using the blender marker that comes with most alcohol markers and said We'll choose a few colors and blend them together. Now, alcohol markers are kind of a additive color system, meaning that you start with white and you build up to darker and darker colors. So what you're gonna want to do is take your lightest color and put it down first. After that, go ahead and put down your darkest color for this one. We're going to then take the lightest color again and go over the whole thing and blend up from the darkest color into the lightest color with the alcohol markers. While they're still wet, you can actually push the pigment around a little bit this way. Then, for this one, we're gonna take the media marker and go along that little edge there between the darkest and the lightest and just kind of layered up. The more passes you go through, the more smooth the transition will be. This is if you want just a various slight shadow or just kind of a rounding effect for this next one. Once again, we're gonna take the lightest color and go over the oval. And once we have that filled in while it's still but we're going to grab our medium color middle color and go over about halfway this one, we're gonna make the shadow lot more pronounced than we did last time. Then you take your darkest color and go over the edge that you want the darkest color. After that, go back to your lightest color and once again just go over the whole thing and kind of go from dark to light as much as possible to help blend it out. This is gonna give you a more defined core shadow and also gives you a nice, smooth look. I Once again, the more you go over it, the smoother the transition will be. Always know down what colors you used. In case you want to replicate what you've created. This next one, we're gonna take three colors that don't really go together. First, we're gonna throw down a green, and then we're going to use its opposite a red as the shadow probably wouldn't need to do this color combination too often. But as you see, we started with the green. Put down the dark, color the red, and then come in with the green and kind of make that core shadow between the two. As you go over it, you can kind of push it out. Now, once you get to this point, you're gonna need a lighter color to kind of tie everything together. So I grabbed a pale yellow and what, over the top of the entire thing to smooth it out and make the transition feel a little bit more natural. Now, if I went over it a little bit more, I could get rid of some most harsh lines. But for purposes of this demonstration, I just want to show the way that you could give that sense of having the different colors on it. Once getting for the last one, we're gonna do some colors who wouldn't necessarily used together. I did a pink as the base and then I took a mint green over the top of that. Now, the mint green is actually lighter than the pink. But since I put the pink down first you're getting the reflected color of the pink through the agreed when I took this kind of pure pale pink over the top of that and, um, went back to start blending it together most the time, you're not gonna be blending these colors. But if you need to do blush or eye shadow, you need to know how these colors interact with each other. There is some banding, and if you want to keep going, you can get into look really smooth. I'm going to skip the circles and go down to the rectangles and show you a technique for shading that still gives a lot of strong texture. Now, for this one, I'm just going to blend the two purple colors together and we're thinking hair, so I'm kind of flicking the marker down. I'm not trying to do a smooth of a line, as I did before, and then, with this blue color, I'm flicking the line up so that they can overlap in the middle. This is Sue, create the illusion of having something stringing overlapping itself. Hair is not all one color. So you're gonna have things like this. I switched to the thicker side of the marker just to pull out some more color. Once again, the more you go over it, the more blood it's gonna look. The alcohol as a bleaching effect on itself with the lighter colors so you can get this blended look really smooth if you want to. I'm not going for a super smooth look here, but I did want to smooth it out enough that you could see that you could take these two colors and kind of blend them into each other, see stuffs and texture. But it's pretty smooth. Overall, this one, we're going to use some browns, and once again we're doing starting out just kind of flicking the marker dad. And then we'll take the other one and flick it up. Instead of going for a smoother blood, we're going to just keep flicking and just layer over layer. I grabbed 1/3 brown because I wasn't really liking the way that was looking and wanted to just smooth it out a little bit, but still want to preserve the texture. This next one, I start off with the base color. I just use the thick end of the marker to lay down a nice, solid swatch. Then over the top of it won't still wet. I do the flicking thing again. You're going to see this is gonna give a better result than just doing the flicks right on top of each other because it hasn't based color to go off of. Also, when you come in to blend it, you'll still have that darker color on top. But it will give you a stronger sense of the different layers of color It's not. We have are two colors, just kind of textured over the top. We can come back in with this one to kind of blend it down a little bit so that the lines aren't quite as defined or is jarring. You come back in and to find more texture if you want it, and that's primarily what you're going to do for the hair. This last one, we're gonna go with a lighter set of color. Once again, we're going to fill in the's swatch with the base color. This time I'm going to flick with the fight batter side of the marker just to fill in the texture faster, but also gives it a slightly different look than just using the skinny side. This one. I also come in and use that thinner side to give some nice lines in it. And when you're done, you have a little swatch that's way more blunted the one next to it, but still has that feel of hair. Feel free to use the rest of the worksheet to try out these techniques and play around a little bit more, keeping your color index sheet close. They have two more weeks sheets that are gonna be in the resource section. This one over here is basically a blending worksheet like this one, except for has some lines underneath to make it easier to note what color's your using to blend? And this one over here with the girls is what we're gonna be using in the next part of our class. 6. Blending Skin Colors: Now that we've gone over a few ways to blend colors, we're gonna jump into coloring the skin. I provide worksheet with these six little dolls on it for you to practice coloring. When you're coloring the skin, make sure that you start out with noting down what colors air using. Make sure you choose a light tone, a dark tone at a midtown, as this will be important for the blending. Once you have the colors written down, grab your lightest town and fill in the skin on the face, arms, hands, whatever you can see for this one, you want to move fairly quickly, but at a even pace. Basically, you don't want the alcohol to dry off, so get the swatch filled in, and then once you have it filled in, you can grab your darkest color and indicate where you want the shadows to be. Now, if this had eyes, nose, whatever you could indicate those shadows as well. So we're coming in with the darkest color now just along the edge. We don't want this shadow to be overpowering. Once we have indication of the shadow, grab your medium tone. Stir at the edge of the darkest and kind of pulled the ink out. Since this is away on way, it should blend fairly easily. Now this point, you can see there's kind of some harsh lines, and that's why we're gonna grab our lightest tone again and go over the whole thing kind of blended out. As you can see, with lighter ones on the page, the color transition becomes fairly subtle. I started with this one for the demo because you can see the skin tones really well with this, whereas the lighter colored skinned and the darker colored skin don't show opus well on film on from here out just going to speed through drawing the other five faces. You couldn't watch this, and it will give you a good idea of how to lay down your colors. Also a no on this lightest skin tone. You can see the dry shift really clearly here because when I first put the colors down there kind of shades of grey, almost they do lighten up to some nice peaches, but they start out kind of an off tone for what I would have pictured the markers looking like in my head had I not. I tested them beforehand. When you're working with skin tones on the lightest tones and the darkest tones, you need to be careful about making sure that you have enough contrast between your lightest color and your darkest color within the skin tone. As I said before, you want to highlight mid tone and a shadow. Well, now that we're almost done, I'm gonna wrap this up and move on to hear colors. 7. Blending Hair Colors: right now on to the hair. Once again, I've got my color index sheet nearby so I can compare colors while I'm grabbing markers. Make sure you write down the colors you're gonna use, just like the skin you're gonna want to highlight. Um, a tone and a shadow. I'm gonna work this in sections because it's kind of a large area and I don't want the Marquis to try on me. You can do the whole area. You just have to work a little bit quicker once again and starting with my lightest tone, though if you wanted to go for a different kind of texture, you could actually start with the Midtown. I just prefer to start with the light this tone and just layer on up to the darker tones. After I have my lightest toned down, I am going to grab the darker stone again because I want to be able to blend it back into a lighter color. I'm going to do the same kind of flick marks that we did on the practice sheet, suffer a little bit more controlled, paying attention to how hair would actually fall on a person's face. So I want to make sure that the marks match the direction the hair would go around her face and also in the little curl on her side. And when I get so the top of her head in the back over here, I'll be paying attention to where the hair would lie there as well. The darkest color does add some kind of very strong picture to it and even some harsh lines . But don't worry about that as we go over with the mid tone and then the lightest phone again, that will smooth out. However, if you actually want to have a harsher look like this, that's OK, too. Right now, we're going over it with the Midtown just adding more texture and also blending out the harsher lines from the darkest color. Then I grabbed my lightest color again and just kind of go over the whole thing to blend it back. Now, some of the other ones, I think I'm going to go ahead and actually let the lines the a little harsher because I think it'll look good. But for this one, I really wanted to have a more smooth texture After you finish with whatever section you were killing. You move on to the next section, and it's sort of kind of Princeton. Repeat, Get down your lightest tone, coming with your darker tones and layer on up Teoh exactly how you want it to look. This funding technique is all about layering. From this point, I'm going to just fast for through the rest of these little characters. Just have some fun with the colors. You can go with more traditional colors, or you can do like pinks, blues, greens, whatever. Just have fun with their colors. Once you have this sheet finished, you'll have a nice little reference chart for tones that you like for hair and skin that you'll be able to use when you're coloring your other characters. All right, next up, we're going to start actually, coloring. Her character's gonna start with the stamp and then move on to the printed out but character, and then finally do the illustration 8. Stamp Coloring Demo: I'm gonna start out by a coloring the stamp. In many ways, I feel like stamps air little easier to color because the amount of detail that they have in them especially stamps like this that are made for X scrapbooking, your card making just like before I start off coloring the skin. I start off with just a very light shade that I can build up on later, this process is sped up. I don't actually color this fast, but for consideration of time, I thought this was a good pacing for watching after that. I actually come in with my medium dark tone. I use a few more than three colors on these because I wanted to add some blush and some readiness to her skin. So here I'm actually coming in with a pink in going over the top of that darker tone that I put down a few minutes ago. And then I pull in my first color and blend it all out, and I'm paying attention toe wear in placing the shadows. I'm not just randomly blending them in and out. This is another pink that I decided to add two to give her skin just a little bit more like Teoh. I'm planning on doing the color palette for this as an orange and yellow, so I want her skin to have that warmness to reflect that, go over to a few more times with the light color and just make sure that it's nice and smoothed out now onto the hair there. And stamps like this one is insanely detailed. It's got all of these lines and so I can work in these tiny little sections. Now the head on this character, it's probably an inch tall, so I decided to go ahead, just color the entire head with the base color that I had selected. Once I have that base color in, I start to define where my shadows air going to be and start darkening up things around her head. I want to make her face pop, so when I'm putting down shadows, I'm looking at what elements I need to enhance with the different colors. So I come in with this darker color to once again just kind of bring out her little face. It is a small characters. I want to make sure that you can see it as clearly as possible. I'm not doing as much blending for this particular character, and you'll also notice that instead of going from light directly to dark and then going medium a light again, I actually built up from light to medium to dark. And that's something I didn't really talk about doing before because I wanted to go over the more difficultly a coloring hair. I'm pulling in some more reds and her skin right there and getting some of the brown tones toe toe look consistent. And here I am, blending out with the lighter tone so that I can have those darks and lights kind of look like they all belong together on her head. Later on, I do take a white gel pin and add some quick highlights to it. That's the finished face in the finished hair, and then I'm gonna speed through the rest of coloring her dressed in her wings and then, after this will move on to the next character. - I spent this one up quite a bit. I think it took about 30 minutes to color the whole thing, so don't rush the process. I just wanted to make sure that you could see the whole process beginning to end quickly. Here I am, adding some details back with the black pens and adding some highlights and some other details with the white gel pen. 9. Print-Out Coloring Demo: right now, we'll be coloring the print out. This is one of the images I have included in the resource section of the class that you can color with your own markers. I drew this image for this class specifically so that you'd have a character that had some large spaces to work in. She's got a bigger head, and so that gives you a nice big face to work with. And then she's got the really big hairs that gives you a lot of area to work on textures and just play around with, just like before. I am starting with my lightest color, and I'm going to go ahead and color in the whole face. You can print this out at whatever size I printed her out. So she's about 3.5 inches tall, which means I have quite a bit of area Teoh color and for her face now for her. I did come in with an awfully dark dark and that was okay, cause like I said, I wanted to have just a darker skin tone because I thought that be fun to work with. So I do build up to that so right now I'm liar ing in my shadows, and I ultimately decided, didn't like that shadow on the nose. And I do kind of come back after the card is dry and go over it so that it's blended out. Not so harsh, so you can come in and do some more blending in a similar way when the ink is dry, it is easier to do all the blending well, the Incas wet. But if you come back, Teoh something you colored and you really just don't like how you colored it. It's not the end of the world. You can say that, and so you can see here. I've gone over it once after, put down the shadows with the medium tone. And then I went over the whole thing with the lightest tone. And then I just came and again with the medium tone again to kind of soften those edges. Sensor hair doesn't have a lot of detail. I went ahead and used the fat end of my marker and just colored in the hole swatch of hair , paying attention as before, to what directions? I want the hair to go, so I'm doing this fairly quickly. because I want Teoh have the ink. Still mostly went one working with it, but I'm also not too worried about it drying a little bit because some of those streaks that I'm getting in there I can actually use as part of her hair texture. I'm going over with the exact same light color again so that we could have that extra layer of detail, all right, and this time I grabbed my medium color because I wanted to make sure that her face would pop. I wasn't sure the darkest color would e too harsh, and so I want to make sure that I had this contrast in there before I grab the darker color . Also again, I was really concerned about making sure her hair had some visual texture to it, so I wasn't worried about blending the medium toned back in. Nor was I worried about having the darker tone being too overpowering. Then I grabbed the darker tone and really started defining shadows again. The sense that was so dark I went ahead and went over again. I didn't want to lose a lot of texture, but I did want to smooth out some of that dark color. And then again I went around the face because I wanted to make sure that her face was the focal point. So I want to have that contrast between the dark and the lighter colors. I didn't do a lot of super blending like I had on some of the other ones, because I really like the texture that I put in there. From here on out, I'm actually gonna color her dress and a little package she's holding, and that's pretty much it me and see. I'm coming in with the black pen again and just defining lines and adding a little bit of texture. I love using the gel pens. Just add some quick highlights. Be careful not to overdo it because it can look kind of silly. But for something like this, when I'm making a greeting card with it, I kind of wanted to have kind of a more wind sickle. Feel to it, right? Here's the final face. I did go in and dark in the pace a little bit and smooth out that shadow on the nose 10. Illustration Coloring Demo: Alright now for coloring the illustration for this one. I do go a little slower than I did on the stamp orthe e print out. And that's just because it just has more detail. And also the purpose of this cards a little different. Whereas the other ones were kind of whimsical greeting cards, This one is something I'm actually going to put up for display. Just like the other two. I do start by coloring with the lightest tone on the skin. This illustration. I am doing it section by section because I want to be able to move in a way where none of the ink dries out on me. So I'm starting with the face. If you look to the left there, you can see that we have the color worksheet for the skin and hair. That's something I like to keep on hand just because that way I can very quickly reference like, Okay, these are the three base colors for this skin tone, and then I can build up on top of them right here. I'm actually doing kind of a pink color, lighter paint color and going over the shadows. The reason I'm doing that is because I want to make sure that her skin has kind of that warmth. That skin has adding some blush on her cheeks and some red nous on her nose. And I'm doing this all very lightly and very quickly so that I can blend out into the skin and it doesn't look like I just caked on Brandon makeup. But it's something that you could believe is on her face. Then I move on to her neck and arms and do a similar thing where I am just trying to make sure her skin looks warm and, um, kind of playing with the colors amount sticking to the exact try A that I decided on before . I do have him there for shadows and highlights, but I'm also making sure that I incorporate some of those other colors that you see in skin . This approach is definitely a little more advanced than thes techniques I originally showed . However, those techniques are the basis for what I'm doing here. Another reason toe work in the smaller sections is to make sure that we don't get back streaking. That will happen with alcohol markers if you're moving too slow across the whole piece, basically, just like before. Keep layering until looks the way that you feel should look, adding a couple of little details with the pink marker here. And here is the completed version of the skin. You can see that there are a couple of other colors kind of blended in there now, moving on to the hair, just like in the demo sheets. I'm starting with the lightest color that I've picked out for the hair. Unlike the demo sheets, I'm actually using four different colors in the hair, the light tone to medium tones and a darker tough just like before, just coloring it all in with one color. The only difference is instead of just smoothly coming in with the color and paying a lot of attention to the direction of the hair. I have some lines drawn in there to kind of show me how the hair is falling around the face , and I want to make sure I mirror that in my coloring, one of things to think about when you're using markers. As always, think about the visual texture, because no matter how smooth you blend, you're going to get some layering lines from the alcohol markers. Next marker grab ISS. My darker of my two mid tones just getting shadows and texture. I'm also paying attention to how light would hit the hair. I'm not just throwing in shadows randomly. This is Thea, other mid tone. It's actually a little lighter than the first mid tone. It looks a little darker just because of how things look when you layer them, blending it back a little bit there, want it soft on that side of her face. And then I come in with my darkest shadows just to give it that depth. I think you're always going back and forth and kind of touching things up here. I grabbed a much darker color than what was originally in the triads. Just Teoh give some extra contrast right now. Ominous feed through coloring her clothing, and then we'll move on to assembling the card 11. Assembling the Card: all right. We can finally bring our entire project together so you should have your character colored your thumb nails done, and you'll have either in illustration, a printed out character or a stamp that you have colored. Go ahead and grab your thumbnails from earlier today and start working on your card. Couple tips I do have for this or make sure that you make a card based out of some sort of a card stock that is strong enough to put your papers and embellishments in your character on. I don't have a ton to say about this section, since we're mostly going over how to color and not necessarily card making. So follow your thumb now been, have fun and I'll see you in the next video for some final thoughts. 12. Last Thoughts: thank you for watching this class. I hope the techniques I've shared with you are helpful. Everything I've shared, it's very basic and something you can use with any brand of alcohol markers. The techniques I taught you are designed to give you a solid foundation that you could build on. I look forward to seeing your class projects hadn't been. If you don't make the card, I would really love to see the characters that you colored. Upload your projects as soon as you can. I'm so excited to see them also, if you could take a second and click on the refuse to have under the class and give me some feedback. I'd love to hear what you thought about the class. What classes you'd like to see me teach in the future and also what things he'd like to see improved in this class. Thanks again for watching. And I look forward to future classes with you