Marker Sketching Essentials: Learn to color with markers | Marouane Bembli | Skillshare

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Marker Sketching Essentials: Learn to color with markers

teacher avatar Marouane Bembli, Design Professional & Online Teacher

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

8 Lessons (35m)
    • 1. Intro - Welcome!

    • 2. The difference between using pencil and pens with markers

    • 3. Outlining simple geometries and adding a light source

    • 4. Coloring a cylinder with markers

    • 5. Coloring a cube with markers

    • 6. Once finished with the markers, let's sharpen it up with the BiC pen

    • 7. Let's add some shine with highlights and white ink

    • 8. Final recap & class assignment!

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About This Class

Hi and welcome to my course where you will learn how to get started with marker sketching. 

My name is Marouane Bembli, I'm an industrial designer and online teacher.

This course focuses on shading and coloring with markers. It's for anyone interested in getting started with markers or maybe you've been sketching for a while and want to polish up your basic marker skills.

I'm excited to have you here! Now let's dive in and let me show you how fun and relaxing it can be to sketch with markers.

Thank you,


Meet Your Teacher

Teacher Profile Image

Marouane Bembli

Design Professional & Online Teacher


Marouane is an industrial designer and online teacher from Stockholm, Sweden currently living in the sunshine state of Florida. He has a great passion for design and especially the art of design sketching. 

You could say he's a wannabe surfer and backpacker (34 countries and counting) who can't help but sketch whenever he picks up a pen. He's worked as an industrial designer, concept artist, illustrator and online teacher for over 10 years which sometimes makes him feel pretty old.

He has a master degree in automotive design and a bachelors degree in industrial design.

Some of his designs have been featured online and in numerous magazines such as Auto Motor & Sport, Auto Express, Car Magazine, Top Speed and Car Scoop.

You c... See full profile

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1. Intro - Welcome!: Hey, and welcome to this course. My name is Marwin family, and I'm an industrial designer, and I'm gonna be your teacher in this class. So what are we gonna learn in this class? Well, it's all about getting back to the basics off marker sketching. So it doesn't matter if you're been sketching for a while or if maybe you're not even touch the marker before. This class is definitely going to help you get those essential parts down off design, sketching with markers such as figuring out where your light sources and how that will help guide you in your sketching to get the shading right. We're also gonna talk about highlighting and what tools to use to do all of these things when you're starting out. You don't need a lot of tools, but there are some specific tools really help you along the way. We're gonna talk about those inside. Of course, I'm really excited to have you here and thank you so much for checking out the course and I hope to see you inside. And I definitely want to see your project uploaded inside the projects folder off this course. I'll see you on the inside 2. The difference between using pencil and pens with markers: Hey, and welcome to this first lecture in this course. My name is more on gambling, and I'm really excited to have you here. Now, before we get started, I want to talk to you about the tools we're gonna be using in this course now. The course, as you know, is about coloring with markers. So we're going to start by using this pencil right here, and you can have it. Doesn't matter what pencil you use as long as it's a a pencil and not a penny. Because the reason we start with the pencil is because when we go over the pencil lines that we have is as a base with a marker. The lights are not gonna get getting messed up. But if we start with a pen and we start sketching the base with a pen and we go over with markers, the lines are gonna messed up. I can show you exactly what I'm talking about once I go through the tools here, So we're gonna use the pencil, and we're going to use this pen right here, which is one of my favorite pence. It's called the big round stick. If you, uh seen any of my other videos. Of course, is you probably know that I love this pen. It's super cheap. I think it's Ah, Dollar 50 something like that. For 12 12 of them. You can find them online or in any most, uh, stores. You can find them pretty much anywhere. We're gonna use the Coptic markers for this course. And I'm using the copy sketch which looked like this. They're Maura lips elliptical than the standard Coptic, which looks like that. So let me show you what I mean with, uh, sketching starting with the pen instead off with a pencil and sent off pen. Let's say we're making a a base here for our sketch, and we might want to put in some shading in here something like that. And let's do the same thing with the pen starting here, and we want to put in some shading here as well. And now let's jump into the markers and see what happens when we go over these lines with Coptic markers. So we're gonna start with the pencil. As you can see, it doesn't mess off the topic marker. It doesn't the pencil doesn't blend, doesn't give any dirt on the more on the tip of the marker. And we can render pretty well using this technique, which is starting with the, uh with the pencil and then going over with the markers. But what happens if we do the exact same thing? But now we have a pet pen here as a base, So check this out. Now he's got to start to bleed, and these lines are going to get blurry, and it's the end result. It's not gonna look that good. And this is depending on what marker you are using. So if you're using Coptics, the pen lines organ will bleed like this. They get blurry, and sometimes they even mess up the tip of the marker here. And this happens especially when you go over the lines several times and you pretty, you kind of want to do that. If you're rendering something, you want to go over the lines several times. So that's the reason why we want to keep. We want to start with the pencil because these lines are not gonna be visible once we're finished rendering this. But here they're still gonna be visible, and the lines are going to look super messy. So always start with pencil when you're using a copy markers. Now let's get into the course contents basically, and let's get started with coloring with markers. 3. Outlining simple geometries and adding a light source: All right. So I'm gonna continue with this sheet of paper because, honestly, I think it's a waste not using this paper. And we lose trees for nothing. So I don't think that's cool. So I want to keep continue using this piece of paper right here to go into this lecture. So right now I'm gonna talk to you about the basics off coloring with markers. We're going to start with simple geometries such as, uh, cubes like this could even put some radius on here. And we can make a cylinder something like that. Let's put this in perspective as well. So we have some something to render, basically. All right, so here we have a Cuban a cylinder. Now, the first thing we want to decide is where is the light coming from? And this is something I talk about a lot, and we want to have that clear before we start any off the rendering or any of the shading that we put down on these right now, I want the light to be coming from here, so let's make a a little sun here. Cool. It might even make that yellow, because why not? Since that have the yellow markers right here. Let's just put up So Sunbeams sun rays. So that means that the sunshine is lighting. It's shining down from that angle. So what does that mean for us? That means that, uh, this since this is a rounded surface here, and this light is coming down from here, it means that the the lightest part off this cylinder is going to be somewhere here in this area. And the darkest part is going to be somewhere down here because it goes round and this area down here falls into shade. And this is where were you going? To have the light of shade off whatever color we choose to render. 4. Coloring a cylinder with markers: So if we move on to the Cube here we have, Let's see, it's coming almost right at the is gonna hit this corner for the sunlight. So that's gonna be a highlight right here, this corner. And let's say this is surface number 21 All right, number of service number one and we have surfaced. Number two right there. And surface number three there. And this 123 is is how Dorothy Shade is going to be. So it's going go from light to the darkest shades, which is going to be number three. So now let's decide on a color we want to use. So I have the Reds right here. Let's see what can maybe do Ellis do. Let's do blue Just so we get some contrast red ellipses here. So I usually start with the lightest shade and I want to put that out. The first thing It was some hair in there, and it feels like these markers are about to go dry. But I think, uh, work for this lessons. So what I'm doing right now, I'm filling in all the surfaces, except for where I know there's going to be a strong high life, which is right here. I want to keep that white just in case. I decide to make this material glossy because glossy material have a much higher reflective ness. I guess it's cold, then a Matt surface. So if it's a glossy surface, that means that somewhere it's going to be a completely white highlight, and I want to keep that open, and that is this area right here. So now I have the basic light shade off my color down, and from there I want to go darker and still keeping in mind where the light source is coming from and where the darkest office shade is going to fall. No, sit down here and let's let's make this a quality surface. And that means that these reflections we're gonna have a a distinct eso to say border border between the reflections. So now I'm going to the darkest shade here, and I kind of want to blend it in real fast with the other layers. Oh, before this tryst, I'm going to go in with a previous marker and just blended in with the with this shade that I'm using right now so that I guess a smooth Grady in transition at the bottom here. And I want to keep the sharp reflection at the top. So exactly like this. And then, of course, we have the surface right here and one of the side of what kind of shape this is going to be. Well, since the light is coming from here, right, that means that this surface is probably gonna be darker than the lightest one. Because it's false into the shade. It's on this side, and the light is coming from this side. So we kind of want to use this the middle shade and start starting without a see how it looks. Okay, so something like that and I think it looks good. It looks natural. It doesn't look like it's a different color. It looks like this whole cylinder is one color with different kind of reflections. So the values off the shades seems to be correct. And I'm happy with that. Before we jump into redefining this, uh, surface, we're gonna use that as a as ah, final step. We're gonna go in with the pen and sharpen up all the all the lines and add some reflections and so on were going to jump into doing the same thing, but now we're going to go on with the Cube. 5. Coloring a cube with markers: Okay, so let's move on with this cube right here. Now, I'm gonna make this and the same steps that we did. Thesis ill Inder. We have the same lights, words up here. And we have these numbers here deciding what kind of shade this cube is going, What kind of shade of blue this cube is going to be. So as I did as we did with the cylinder, we're going to start with the lightest shade, which is the one I'm using right now. Shade number one. And I think we are done with this. We're also pretty much done with this marker because it's really dry. Sorry about that. I think it looks pretty cool still. So we're gonna jump into service number two here and continue to fill this in. Same thing here. I want to keep this glossy, so want to keep the room for a really sharp highlight in on this edge right here. So I want to keep that white because it's kind of Ah, once you put marker on it, it's not that easy to get the white back. I mean, you could do it if you have with the white ink if you have that, and I have that here. But, I mean, why do that when I have the paper already as the white, it already does the jump for me. So to say, Okay, I'm moving on with the darkest blue here, which is to be G 18 teal blue. And let's see how that's gonna look here on surface number three. I was gonna go ahead of fill in the outlines first. The reason I'm doing that is because it makes it easier to to fill the rest once I have the outlines. Now, I can just go from side to side like this from border to border without having to worry about messing up the border lines. I hope that makes sense. Also, your if you're watching this course right now and if you have a minute, you could write in the the what is called a Computed it for this course and just introduce yourself and let me know where you're from, what you're doing currently in, um, what you expect to get out of this course. It's really interesting for me to to get to know my students, because I don't since I'm not. I'm not there physically. It's kind of cool to just get to know you even though you're just present yourself digitally and just write it short viol about yourself, your name where you're from and what you expect to get out of the course. That looks pretty cool. I think it looks, uh, can, uh, blush she or something with that. But that's that's gonna look better once this dry ice. So I'm not too worried about worried about that right now, but from here, we're gonna take these two. Because, as we can see, the lines here are not really defined. It looks blurry or it doesn't look sharp enough for my taste. I do like a sketchy looking sketch. I do like it when their a bit dirty, but I still want to have some definition in there. So we're going to go in with this big pen round stick right here and sharpen up all these lines. And after that, we're gonna add some highlights 6. Once finished with the markers, let's sharpen it up with the BiC pen: all right. Moving on with these two renderings here. We want tiding up these lines that goes that can outlines thes two shapes. So I'm going to start with the cylinder here and what I'm doing. It's just adding an Al flying with the big. And as we talked about appear with these, we started with a pen pencil with these do and know where we already put markers on. So now we can go in and start to define it with the pen because we're not gonna use the markers anymore to bleed out the pen. So we're all good and we might even want to put some definition on these reflections here. And if we want to, we can go in and do some line shading That's totally up to you. I kind of like it because it gives thes sketching more sketchy look, so to say, And I want this baseline down here. I want that line to be thicker than this line that's up here. Why? Because it gives the cylinder some sort of weight, so it it looks like it's sitting on a surface. If you give a a figure baseline to your products and sketches. Can I want to rotate the paper here just to make it easy for me to defined this curvature here? Same thing with this. Gonna add It's not that easy. Sometimes you're gonna miss. But that's fine, because if we miss, we need to redo. And that means more practice, more sketching practice for us. But what I like to do here is to first kind of ghost sketch, which means just hovering over where I'm going to sketch so I can kind up, get my brain to know where I'm going to put the Ellipse Before I actually hit the paper. Same thing here. We kind of we might want to put in some line shading here just because it looks cool. And let's do the same thing with the cute, which is going to be easier because it's pretty much just straight lines everywhere on the same thing here. I want to keep the baseline just a bit thicker than the rest of the lines to give it some weight and also make it a bit sketchy. And don't don't worry too much if you just happen to miss some line are something comes, you know, you don't hit it exactly where you want it to. I think that's what it gives a sketch, Uh, kind of a personality or or life or those tiny mistakes they can see. Uh, sometimes, for example, this these ellipses here are not perfect at all. They just looked sketchy. But, you know, you get the point you get, you get to see what kind of shape this is, and you understand that it's a similar still, and that's the most important thing might want to put some. Maybe some wine sketching in here is Well, why not? Then we dio so in the next lecture we're gonna jump into. We're gonna continue with these two because I think these are a good example off just a really basic, uh, shapes. So Cuban a cylinder. It's a really good start. So I want to go all out on these shapes. I want to show you like what did now, how to start with a pen cil and then to move on to markers and start with a light shade here, moving on to darker and darker and keeping in mind that this is round. So that means I forgot to tell you this, by the way, But, uh, at the bottom point here. So when he turns around, goes around, you wanna have a bit off a lighter shade just at the final line here. So that's that's why I wanted to make a grading from dark to light because it goes around. So you actually get some light from the other side off this cylinder which is going to show down here if I hope that makes sense. If it doesn't, please let me know in the community. And I'm happy to just elaborate. Elaborate a bit on that, but I want to show you all the steps that we can take because we can apply this on any, any shape that we want moving forward. But if we learned the basics first, that's gonna help us a lot when we moved to more complex shapes. So in the next lecture, we're gonna talk about adding some highlights, and I'm gonna show you how to do that 7. Let's add some shine with highlights and white ink: All right, So let's move on to adding some highlights to these cylinders and cubes and whatever were sketching here. And for this I'm going to use to different. I'm going to show you at least two different versions off doing this. I show. Let's make it three. Why not? Because I just remembered I have this panel pencil here as well. So three ways off doing white highlights. So this is the pencil. It's just a white pencil with this works best or really dark areas because it's almost like in a show. And then we have the fine uni pasta pan and one of my favorite pence ever of his this since 2007. University when I was studying industrial design and what this does is it can give you really fine lines off white highlights, and it really shows that it's super white. I mean, it's white ink. So the's air for the burn points and stuff like that and section lines and so on. And this bad boy Farber Castell picked artists pen or favorite can still I don't know how to pronounce this pronounce this in English, but you can see right here this will give you some thick your white lines. If you want to put thick highlights on some surfaces, it can be a semi glossy surface or a glossy surface. You can put these thick highlights on there, and I'm gonna show you all of these right now. So we're gonna start with the pencil and let's say I want to add I want to make this shade right here a bit lighter than it is right now. And I can do that by adding this pencil here. It's gonna give us a lighter shade than what we have right now and it can help with, you know, visualizing a radiant, for example. And it's really good. If you have a Newman darker surface like this right here, it's going to show even more. I mean, you, maybe you want to add a highlight around this Ah, front surface right here. You can do that. Where is the line feeding like this? So that's the pencil. It's really useful also, if you're sketching tires because tires are maths, as everybody knows. So they were 10 a cool gray door, cool, grayer, even black sometimes. So when you add this on there it's gonna look really good. Let's move on to the union pasta penne, one of my favorites pants. So we want to shake it first and you see it's up really tiny flying tip here, which gives you some cool burn points. So let's start over here and had some highlight to this same thing here. Don't worry if you mess up because the good thing is, if you happen to mess up, we can always go back with the pen and kind of overwrite whatever we messed up. But here we have the burn point right here, as we can see because we have the white here. That means that the lightest point on this cylinder and right here is going to be right where that highlight is. So something like that. And let's add it right here as well. Cool. It looks kind of cool. Just adding some random white lines everywhere. Let's, uh, move onto the Ficker version off the pan that I just used, Which is this one? As you can see, it's has a, um, launcher tip, which is going to give us some more. Uh, you have thicker highlights basically, and I use this for, um, defining radiance here is well, so if we want this radiant right here to kind of fade out, I want to use this pen to help do that and help visualize that something like this. So I have a burn kind of like a second burn point here. The main one is going right here, and then it fades out and moves into this blue here, and I want to fade it using this pen. So we might want to add a thicker edge up here on this cube. That's a good way of using this pen. You know, I kind of shaky because I don't want to go over with my hand over these lines just yet. I'm not sure they've tried and something like that. And once we're done with this, we can go back with a pen. Now for a final touch. We can't even define our highlights now, even ah, to bigger I mean in more detail than just using the white ink. So just defining the outlines off the, uh, the reflections here on the highlights and defining where this edge that is highlighted ends and where it starts with the pen. So something like that. Guys, I hope this all make made sense to you. Now we can move on to, uh, a bit more complex shapes, such as course, and we can move into whatever products we like to sketch for me. That's usually cars. But whatever it is, you like to sketch furniture. I can be, uh, tools. It can be, you know, power tools, instruments or whatever it is you you prefer to sketch, even even fashion design and close. You can kind of implement this into that as well. But no matter what it is you're sketching, the basics are always gonna be the same. And that's the important thing right here. So in the next lecture and that this is that that's gonna be the final lecture. I'm gonna talk to you about your assignment for this class. This is really exciting. So stay tuned 8. Final recap & class assignment!: before we move on to the assignment for the class. Let's just quickly recap the steps we just take to create these two shapes right here. So what was step number one? That was step number one WAAS. Use pencil four base, and we want to use the pencil for base sold at the mortars. Don't bleed when we start to go over with the markers. Now, I'm sorry for the the weird, uh, lying here. The weird, uh, is gonna be a bit messy, but I think you're gonna get the point. So step number two is deciding. Decide light source sores. There we go. That's super important. Before you started any shading whatsoever, decide the light source and where the light is gonna come from. That's gonna help guide you where to put your different kind of markers and generally just help you with your sketch. Number three is light shading, man. I can't write today, but light shading. And by that I mean, start with the lightest shade off whatever color you decide to go with and fill in as much as possible. But keep the burn points if you have a glossy surface. If you don't if you have a math surface here or would probably cover this up with some blue light blue as well. But since I want to keep this glossy, I kept my burn point right here, which is this thick white highlight number four. I continue. Continue with Doric. Continue with darker shades off markers as you go along. So you may want to go even down to Black and Addie Black Line down here, for example. That's totally up to you. After this, we want to add the highlights. Five. Hi light Who's highlights? So we want to add the highlights here. For that I'm using. You can use either one of these pens if you have just one of them. That's fine as well. We just want to put some white areas on here to to, you know, visualized the burn points and where the sun is coming from and and the glossy nous off the surface as well. So the final step number six is too Titan. Tighten it up. Bam! By that, I mean used the big pen to go over the sketch once again and fill in all these high these edges in the outline of the sketch just to make it a bit sharper than you know, just using the marker as, ah, as an outline. And that's that's my preference, and that's how I prefer to do it. I think it looks really good when you do it, and for your assignment for this class is to create one cylinder and one cube using this technique and using these steps, and I really want to see you post them in the course projects. So it's always fun to see what you guys are doing. And if you're following along and if you're having issues with anything, if you post your sketches, I'm gonna be able to help you much better and easier than if we're just typing on what what are problems are. It's easier to just see it in front of you so I can help you straight that way. I hope you enjoy this course. My name is Tomorrow and Mbemba Lee, and if you have any questions whatsoever, police let me know in the community. I'm always happy to answer any questions that you might have. Take it easy, guys, and I'll see you next time