Marker textures: draw your favorite furry pet | Celine Vd Moesdijk | Skillshare

Marker textures: draw your favorite furry pet

Celine Vd Moesdijk, artist, creator

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8 Lessons (27m)
    • 1. 1. Intro

      0:53
    • 2. 2. Materials

      2:37
    • 3. 3. What the fur?

      2:52
    • 4. 4. The sketch

      0:46
    • 5. 5. The colorless blender

      1:52
    • 6. 6. Go all out!

      9:25
    • 7. 7. The subtle approach

      8:17
    • 8. 8. Conclusion

      0:33

About This Class

When you start out with markers you’re eager to learn how to blend. Once you’ve acquired this skill you might stumble across textures that you’d like to draw. This requires a whole different approach. 

In this class you’ll learn two different techniques when it comes to fur. We’ll go step by step to create a drawing of our favorite pet. I'll also share some tips about the colorless blender that can help you out with you drawings.

A bit of drawing experience is helpful but we’re going to keep it simple! When it comes to marker any brand will be fine.

Transcripts

1. 1. Intro: Yeah, Okay, enough with the funny stuff, even though this is pretty much how it went down for me. When you get into Marcus, you're so focused or learning to blend that you forget about learning other things like such a sexual in this class will be focusing on for we'll be going step by step to wake, drawing off your favorite with market. A bit of drawing experience can be helpful, but if you're able to make a sketch, you'll be fine. You'll see me using Cho picks, but any other brands will do. Let's take off first steps in the world off textures together. 2. 2. Materials: before we start. Let's take a look at our materials. Off course, your Marcus, the colors you pick a gonna depends on the subject you choose. So that's all up to you. But what are other things to look for so you can make sure you're drawing will have natural appearance. Go with a light myth and Dr with three markets, you'll be fine. But if you're looking for some more color variation, try moving to another color family that's close to the color she picked. Do some tests with colors and set with the color she want. And if you have one of these babies laying around, keep it out because it may be a great tool for this, cause if you're anything like me, you want your markers and your naps to less a long time, we're going to use a sketch, so it's best to not use graphite because it will clog up your nip. You can use color pencils or just make a print like I did. There are even these erase herbal color pencils, so you won't have to worry that you mess up the sketch when trying to pick a paper. You're usually looking for the paper that blends the best. But this time we have a different angle. We want to create texture and you want us to be easily visible, Which means you want a paper that doesn't blend too well and doesn't suck up a lot Off Inc . You also want your paper to dry quickly so he can maintain a nice workflow. Let me show you what I mean by all of this. I'm gonna test three different kinds of paper by doing these little swatches. I'm using a base layer, and after that, I'm going over with same color to test out how much it blends and how quickly drives. The 1st 1 shows up really nicely, but the 2nd 1 is just a big blended blob with this woman is okay, but it eats up a lot of ink. Let's see where this goes with some more layers. The 1st 1 came out the nicest. It shows all the layers and you can see the different strokes. I'm gonna go with first paper, which is this one, and let's move on to take a look at some for 3. 3. What the fur?: nothing gets me more excited than drawing. What learning something new can be terrified. As an honest, you may know that your mind can play a little tricks on. You've probably seen hundreds, not even thousands, off pets in your lifetime. But do you actually know what they look like? A brief Think you know there's a difference between seeing and really looking or observing thinking. You know things because you've seen them, who's really knowing what I want you to do is actually observe your subject's and ask yourself questions. What's happening with the texture? What's happening with the light? Of course, we're not gonna draw every single hair, but try to look at what kinds of chunks off head are. Very are the most visible. What's the flow off the hair? And Kelly, A lot of help you out. I know this is a lot probably new to this, and keep in mind, this doesn't have to be a masa pee straight away. We're just gonna try and play with texture and have some fun. Another thing to look out for and it's a problem I struggle a lot with is that your work becomes stiff when you use reference and you don't want to be ripping off the people. You want to have your own start. So the way I work is I start off. We're looking at reference, taking a sheet and practicing it and then putting it away, putting it all away. The reference material in your practice. Trust yourself. You can always take another look at it, but it helps me out a lot. Have not do not have it straight in my face all the time and depend on my own practice that I actually did the last thing that can help you since you put your practice and reference away. But you still want your drawing to have a natural look is this. It's best to explain it. Officially, this doesn't look natural. It's just dots ordered like a pan. Well, this could be a star. Not what makes a texture look natural is that it doesn't look like a human ordered. Its there is order to the chaos, but it doesn't look debt meat that you can tell it's created by a human. It's like a river versus a canal. What I want to say is that she can be creative with your marks, and it will probably make your work look better 4. 4. The sketch: we've started our subject, and now it's time for the sketch. It's easy to get lost in detail while you're working on your texture, so your sketch can help you out. Having a plan, I tried to indicate some off the important anatomy or flow off the hair. It's also a way to keep the looseness that you have in a sketch. As you can see, I printed the version off my sketches, but you can also use color pencil color. Pencil was much a bit more with your Marcus, so you won't have it show up as much in the end results, it depends on what you like. 5. 5. The colorless blender: the last thing I want to talk to you guys about. It's this thing. The colors blend. When I first saw this, I was amazed. I thought, This is gonna be the magic to that's gonna help me blending. But it doesn't do that, you know, just as well as I do the best known magic tools and ought what? In the meantime, I did find some purposes for his blender. Let's take a look. First way to use the blender is as an eraser. It works great at the edges off, throwing in other places. You have to be a little bit careful. One should done, and it's dry. You can continue your drawing. For the second technique, you'll need a piece of plastic. You don't always own the color that you have in mind. By using the blender, you can create a lot of shade off color or makes close together. 6. 6. Go all out!: Let's go over our first technique. I call this one going all out because this is the most fluffy one. I've got my sketch ready, and while I was looking for some color inspiration, I came across this picture. The cat appears really blue, so I thought that would be a nice idea for Arquette. I picked some blues and greys to get this kind of effect. I start off with a light base layer. Make sure you're already planned out, where you want your lights and darks to go and what's the light source? I want to make the post darker than the rest of the cat, so it's a nice contrast with Head. That's why I'm starting off with a darker tone on the legs as a base layer. Try using a flicking motion toe indicate the flow off the hair. Your strokes can be bold and brought at this stage. Don't worry about details yet. The first layer is kind of a map for the rest of the drawing. It's best to work from light to dark. You can build up your colors this way. You can always go darker, but with Marcus, it's really tricky to go lighter. A little shade marker will pull the colors out that are already there. Later on, you'll probably see me do this, but it takes some control to make it look nice. It takes and light hands. It's a great technique to learn, but if you're starting out, it's best to stick to the light to dark way. If you do want to learn this, try it out on a separate piece off paper because it can really mess up your piece. We're slowly moving onto the details. This means we're gonna introduce some of the darker tones one off. The most important things to remember we're working on texture is that it's the most visible light transitions into shadow in the highlights and shadow area. There should be less information about texture visible. Your details should be in the transition area. I also have not a point to make about details. I'm starting with the head because I want the focus to be there in an area off focus. You can put more details if you have a lot of details in other places, you will get distracted when you look at the drawing. At this stage, you can start very in your strokes. To get smaller, detailed, fine strokes, you could use a flicking motion with the light hands. Try to barely touch the paper and move quickly before and you can practice thes strokes on your practice sheets. Also, stay loose with shapes you create. I told you before that we are not going to recreate every single hair. We're trying to indicate the shapes off the chunks off here like you see on a pause, it's clear that it's hair, but I are not a lot of separate shapes. When you look at it from a distance, you see one shape taking a step back to look at your piece. We look up close. You see shapes of the head drinks on the edges. The edges are the part off the dark and light areas where you can put in some smaller shapes off the texture without it being distracting that this doesn't distract because of what I mentioned. Whether being one shape, there is something going on which you indicated with shapes of the edges. But that's not too much info going on, and the rest off the shadow shape in the last details and dark areas. You see me using a normal planning technique went into it. When the paper still wet. It's easy to blend. If you're working on smaller areas where you need detail, give the paper some time to dry. You can keep working. In the meantime, just move somewhere else. You'll see me do this all the time, just move from place to place. 7. 7. The subtle approach: the subtle approach. This technique is for animals with a smaller fur coat, the animals without long or big fluffy hair. I was looking around for pictures off my own dog and came across these pictures from when she was a little puppy. This post was super cute, so I went with this picture as reference. The only thing that makes her not such an easy subject is that she's white. I don't know if you can see in this picture, but I know the more tired she gets, the more pink tone she gets on ahead. Combining grace with pink makes for more interesting piece to look at. Just as with the first technique, we're gonna work from light to dark. The pink tones should be put in as an undertone because this is her skin showing through the hair. It doesn't sit on top of wire. The area between her legs doesn't have that much for so I'm putting the pink there as well . This way, it separates skin from for I'm not putting any texture in it. Also, as with the previous techniques, the same principle off texture showing up the most in transition area apply there was no texture in undertones. The color will serve as a focal point. Try putting some colored undertones. Why you want to have the area focusing your drawing. We're moving on to putting into dark parts. If you're not working with while you should have some kind of light base layer that looks pretty smooth by this point, use a more blended technique than the bold stroke Layer off. The first technique wide serves us my base layer, which short had animals. You're gonna use the anatomy a lot to create your textures. Use a debit technique to create the first shadow shapes that followed the animals and out of me. You can indicate some house with this, but not too much. Put them in folks areas and some parts where the anatomy really makes the hair show up here is rather thinking, you know, vs observing and studying really comes to play. You think about short had animals with the hair everywhere, even though this is true when trying to recreate this with markers. You can't go this way, for example, where you look at the animals had you'll notice the short house over there, but you will not actually see the hair on the whole body the same way you looked, your eyes in one place only. When you move your eyes to another place, you'll know just a short house over there. That's why I put some really small strokes here and there. If you do move over from the focal point of the drawing with your eyes, you'll still be able to notice some texture just enough to indicate hair, but not to the structural rise from really should rest. I'll show you a close up off this at the end. 8. 8. Conclusion: Let's do a little recap before we finished. First off, bigger subject and the markers and paper that go with it. Observe the some studies and practice and then put it all away. Put the techniques to the test and share your progress in the project section. It can be helpful for yourself, but also for others. And last but not least, don't hesitate who asked me any questions? I'm glad to help you along your way.