Painting with Water Based Markers: Essential Techniques to Create Beautiful Watercolor Coloring | Windy Iris | Skillshare

Painting with Water Based Markers: Essential Techniques to Create Beautiful Watercolor Coloring

Windy Iris, Designer and Crafter

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10 Lessons (53m)
    • 1. Welcome

      2:25
    • 2. Supplies

      6:16
    • 3. Applying and Blending Colours

      6:19
    • 4. Gradients and Layering

      5:34
    • 5. Prep

      2:16
    • 6. Girl Colouring Page - Real Time

      11:13
    • 7. Pattern Colouring Page - Real Time

      10:38
    • 8. Girl Colouring Page - Time Lapse

      3:25
    • 9. Pattern Colouring Page - Time Lapse

      4:01
    • 10. Final Thoughts

      0:30
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About This Class

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Learn how to paint with water based markers and use water to unlock beautiful blending techniques. 

In this class I’m going to be walking you through the process of coloring with water based markers, creating watercolor style effects, using water to blend and move the ink, creating a variety of different styles and techniques. This class is suitable for complete beginners, as well as those of you how may have some experience but are looking for some new ideas.

What You Will Learn

I’ll be walking you through every step of the process and you'll learn about: 

  • How to apply water to your coloring to dilute the ink, creating depth and shadows
  • How to blend different colors together
  • How to create different effects using a brush, acrylic block and a marker airbrush
  • How to create gradients and layer up the colors
  • How to create a splatter/mixed media style of coloring on a finished illustration
  • How to apply gradients to a coloring page and create depth and shading with one layer of color

I’ve also included three exclusive printable coloring pages that you can use in this class. The first of these is a practice page, with different shapes so you can get the hang of layering and creating gradients with the markers. The last two coloring pages will be used in the final project. Your final project for this class will be to paint one finished illustration using the techniques taught in the class – you can either draw your own design or use one (or both) of the coloring pages provided. These are the two final illustrations we'll be working on in the class. 

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Materials You Will Need

Here's a general list of supplies you'll need to complete this class's assignment and more detail will be gone into in the lessons. I really want to stress that the brand of marker does not matter. The important thing is that they are water based, other than that you can use whatever marker you like, from Crayola to Tombow.

  • Water Based Markers
  • Paint Brushes
  • Water (in two containers)  
  • Paper Towel (useful for dabbing up excess ink and water)
  • Masking Tape
  • Acrylic Block
  • White Paint Pen
  • Print Outs of the two Coloring Pages (girl and pattern)
  • Marker Airbrush (not vital but it’s useful if you enjoy making splatters)

I hope you’ll join me for this class and discover how fun painting with markers is. If you have any questions or comments then feel free to reach out and let me know, I’m here to help and make sure you share your project photos with the rest of the class. I can’t wait to see what you create and now let’s get started.

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Transcripts

1. Welcome: what a based markers are very versatile supply, and you've been using to create beautiful coloring on watercolor like effects. Many of us may be familiar with the types of markers or felt tip pens that we used his Children on. Unfortunately, he's never worked very well. They often didn't blend. They were streaky Bay sometimes even tore holes in the paper, however, with the right paper on techniques or water based markers from fancy riel brush pens to simple Children's felt tip pens can be used to create beautiful, blended paintings. The markets just have to be water based, and you can create watercolor effects with them. I've been using water based markets, the paint and color, my own work. And in this class, I'll show you how I use water to blend and move the ink, and I walk you through a variety of different techniques and ways to apply the color to the paper on how you can use the pens to their advantage. We'll run through some basic supplies and types of pens that are available different papers , brushes and so on. Then we'll have a look at coloring techniques, brushstrokes, layering, blending on details, filling out of practice page as we go so we can get comfortable with the different techniques. I'll show you how you can use the Marcus themselves to create blended coloring on will also show you some fun techniques using in acrylic block and market airbrush. This class comes with to real time coloring projects. Why put into practice all the different techniques that I've discussed? The first of these is a watercolor wet into wet Styler coloring, very loose and very Slattery on. The second of these is more precise and focuses on Grady INTs and blending. This class also comes of both designs from the lessons as printable coloring pages so you can follow along at home on if real time to toils are not for you. I've also included sped up versions off both of the final project so you can pick up the learning speed that's best for you. You can access the coloring principles on the right hand side of the your project section, and you can upload images of your own work on the same page. Ask questions and get feedback. This class is suitable for everyone from beginners to more advanced creatives. Anyone looking to add some fun techniques to their skill set. I hope you'll join me in this class and unlock the possibilities of water based markets. Now let's get started. 2. Supplies: the supplies you need for this class is simple. Water based markers, paintbrushes on paper. I'll discuss those three first, and then I'll move on to some of the other supplies that they use a bit later on. If you'd like a handy print out a list of all the supplies used in this class, you'll find a PdF inthe e your project section on the right hand side of the page. What a based markets come in many different forms. The cheapest form are normally the packs of felt tip pens that you might find in a dollar store or the type that a generally marketed towards Children. Any brand of these would be perfectly fine to use in this class. However, the downside to using those types of pens would be that they tend to be much less pigmented than the more expensive type of water based markets that I'll be discussing in a moment on . The nips tend to be smaller, and they're not as nice or as flexible toe work with Now. That said, if diesel that you have on hand, they definitely will work the types of water based markers or brush pens that are marketed towards artists or crafters come in different sizes. Different nip types on brands. The most common type of nip are the felt brush nips. These are firm yet flexible Nibs, and you can create lines of varying fitness is, and they're particularly good covering large areas. The other common type of nib is a brush on. This has individual hairs and acts very much like a paint brush. You. This could give you even more line variation, and you can create interesting flicks and strokes on lots of different textures. With, um, if you're inter brush lettering, you may have some pens like these on hand. Already, as they're a popular tool to create modern calligraphy, you can also get brush pens that a double ended. These here have a felt brush nip on one end and a very fine tip on the other. This could be useful for hand writing, outlining and creating different strokes. As for brands, I've tried quite a lot of different ones, and they all worked really well. They were very highly pigmented, and they have lots of lovely, vibrant colors. Lovely Nibs, Tom Bo Zig are Taser. Mozart supplies these Airil brands that I've used the thing you may want to consider when you are buying your own water based market is what type of nip you want. As I mentioned earlier, you can have single end depends, so there's just one near or you can have double ended pens. I'm using a variety of different sets in this video, all mixed up. I have both the double ended felt brush varieties on the single ended real brush ones. There's no right or wrong set to get. I like to have both types of pen so I can get different effects. The rial brush Nibs give you a lot more line variation than the felt tips do, but the felt lives of firmer and easier to color larger areas, As I mentioned before. There are other types of markers as well that A Inc based the Fabrica style pit pens, for example, because thes air Indian ink based their waterproof when dry. Andi, you can blend them a little bit when they're wet. You can't blend them when they're dry. Now, this could be a good and a bad thing, depending on what you're looking for. I very much enjoy working the with these pens, but I wouldn't recommend getting them for this class because you won't be able to get us much variety and do all the techniques with them, because the drives permanent Tom Bow and Zig are perfect if you have a slightly larger budget to start with, and I'll Teza and notes that supplies a good if you have a smaller one. And of course, a pack of pens from the dollar store will work just as well. So once you have your set of water based markers, you need some paper and in particular you need watercolor paper. Now this is very important. You can use any water based markers, but you must use watercolor paper for the techniques that I'm going to be showing you today . Otherwise, they will not work very well. We're going to be using a lot of water to blend and lay other colors to the paper needs to be able to handle it. I would recommend 300 grand paper. You can go for cold press or hot press. Cold press has more texture to the surface of the paper, and hot presses smoother. I like using textured paper myself because I like how the texture of the paper shows up through the coloring. So I'm using cold press paper from cancer in for this class. However, if you want to get very smooth lines with the rial brush pens, then a hot press paper would probably be better, because you'll get much smoother lines with your brush pens on a smoother paper. Then you will, on a more textured one cancer in Strathmore Dale around our or good papers, and there are lots of other brands. Just make sure you get a heavyweight 300 ground watercolor paper. The next supply you'll need a paintbrush is on again. Any type of pain brush will work well. I have used water brushes before the type that you can store water in the battle of the brush on. While these are convenient for coloring on the go, they can often feed too much water onto the paper, so I don't tend to use them very often with the markers. The brushes ally use are ones that come in the value packs, and I have a few in different sizes. Other supplies that I'm going to be using in this class are in acrylic block. Now these can normally be bought from scrapbooking or craft supply stores, and they are a really useful to supply to have on hand. You can do lots of different techniques with these acrylic blocks. Now, if you can't get one on old CD packet, would do or anything that is flat and made of plastic or acrylic would work fine. A water bottle spritzer is also useful for certain techniques. A blender pen. This one is the one from Tom Bo Onda market airbrush. This is a useful little gadget for making splatters on. The one I have here is from we are memory keepers. I also use a white paint pen to add finishing touches to the final illustrations on I like the Posca paint pens. But the you nibble signal is also very good. As I said before, the brands are up to you, and it will depend on where you live and what sort of budget you have. The techniques that I'm going to show you in this class can be applied to any type of water based market. Just make sure you have heavyweight watercolor paper. So now that you've gathered or your supplies, let's move on to looking at testing the pens on ways to apply the color 3. Applying and Blending Colours: One thing to bear in mind when you are working with water based markers generally is that the colors will dilute when wet on they will tend. They tend to become a little bit more muted and lighter when you add water to them. So when you're coloring you, sometimes it's best to go a little bit darker than you intend, because by the time you add your water, you will have faded that color out of it. And that's just something to sort of keep in mind that you're working on. This is one of the reasons why I always tests. Watch all my colors first on dilute the move water so I can really see the colors that I'm working with now. By adding water to the ink, you can create a variety of different techniques. The first technique is simple. Pen to paper. This is probably the technique that I use most of the time. When coloring, you just scribble the pen onto dry paper and you take a brush and a little bit of water and blend the color out used to feather the color out into not into nothing. You can do this with a single color, and you can radiate the pigment out into the white of the paper. Or you can blend multiple colors into each other. This is a very easy way to achieve shading ingredients When coloring in a later lesson, I'll go through and show you how I apply this style of coloring to shapes and objects. This next technique is very similar to a wet on wet watercolor effect. You start out by wetting an area of the paper. Remember, the ink is only going to spread as far as the water on your paper, so you could be very precise when applying that fight that first water wash. Then you simply dip the pen onto the wet paper. This is fun for blending multiple colors together. You only need to very lightly dip your brush into the water. And if during the course of doing this, the tip off the neb loses its color, you can just scribble the the marker out onto a scrap piece of paper on, you'll get the ink flowing again. This creates a very lovely blended look. This technique involves the acrylic block or whatever substitute you have on hand to mix the different colors together. This is useful if you want a special shade that you don't have in your collection. I often use this technique When I when I need to mix a skin tone, for example, you can scribble off some of the colors onto the block and then mix them together and pick up the pigment off the block with your paint brush and paint. With them like that, you could also use the block toe water down the colors if they're too broad bowled all too bright. Picking up the colors from the acrylic block is really handy when you want to put in very small details, and you only want a very tiny bit of pigment on your brush you're basically using the acrylic block are like a mixing palette. This next effect also uses theocratic block and is good for getting a splattering mixed media field. I often use it to create backgrounds or spreads in my art journal, so you start by picking a few a few colors. I normally stick to three or four on. I scribbled them evenly out all over the block. Then I give the block a light spritz with water bottle and stamp the block directly down onto the paper. You could normally stamp a couple of times and get a few different impressions. This will blend the colors together, and I really like it because you get a completely different result each time. So it's a bit of a surprise every time you stamp your block down and to clean the acrylic block when you're finished or you have to do is wipe it or wash it, the water based markers will come off of no problem. Another way to create a blended background is describing your colors directly onto the paper and then give the page a couple of light spritz with the water bottle only. Give the paper of very, very light Sprits, though, or the ink will get too diluted, and it can even almost disappear. If you add too much water, this creates a blended look on a splattering effect around the edges. You can, of course, just apply the pen director the paper on, not use any water to blend it. This is very useful for hand lettering or for when you want a very bold color or strong outline. You can also blend the different colors together with each other, so you can apply the pen director the paper and then use the lighter off your colors to blend the darker and the lighter one. Together, this technique will create a blended look. However, it will make the nip off your market very dirty. You can normally scribble the nip off on a scrap piece of paper to clean it, but if you're doing this technique over a long period of time, your names will probably get very stained. A blender pen can also be used to blend the colors together instead of water. This is useful if you're working in a coloring book, for example, or you don't want to use lots of water in your paper. You can apply the color to the paper as before, and then use the blend. Depend to feather the colors out or to blend two colors together. I find, however, that if you scrub too hard with the blend depend, you can end up damaging your paper. So this is not one of my favorite methods to use. And finally, if you have a market airbrush, you can create lots of calls splatter effects. You load your market into the Marcus lot. Now, if your pen is too thick to fit into the hole, you can unscrew the little screw at the top and take out the inner tube to make the hole bigger. Using the airbrush, you can create lots of splatters. The closer you hold the airbrush to the paper, the closer the splatters will be to each other. So for a wide, far part splatter, hold the airbrush higher up on form or intense, cluttered, splattered look. Hold the airbrush closer to the paper. You can get all sorts of different splatters, depending on the nip. The felt nips give a much larger splatter on the rial. Brush pens give a very fine mist effect. You may want to protect your desk when you're doing this as splatters. Have a way of travelling, so I'd layer scrap piece of paper down or newspaper or something over your desk. When you're doing this splattering technique. If you don't have a market airbrush, you can also add splatters to your design. By using the acrylic block, you scribble some color down, water it a little bit with your paintbrush and then load up the paint, brush with lots of pigment and tap it against your finger toe. Add splatters to the page spatters, always fun to make, and they give a very painted the look to an illustration in the coloring lessons. Later on, I'll show you how I combine all these different techniques when coloring in an image. 4. Gradients and Layering: Now we're going to look a layer in colors and practice, creating Grady INTs and shadows. For this lesson, you can print out the practice sheet onto some watercolor paper or just draw out some very simple shapes yourself when I'm approaching coloring with the markers, I like to fill shapes and to create radiance, so I'll show you a few different ways that I would call it in these leaves as an example. So for this first leaf, I'm going to start from one side. I'm going to place a bold line of color down, manage. Then, using some water on my paintbrush, I'm going to feather out that color to the other side. This instantly creates not only a lovely water color texture but also some shadow and some depth on the highlight on this is one of the reasons why I particularly like coloring of water based markers. I find it's much quicker to create shadow and debt from dimension with this medium than it is with alcohol based markers or colored pencils, for example. With one layer, I can create a shadow on the highlight and get that lovely Grady int by just favoring out that pigment, and I particularly enjoy coloring with these markers. Because of that, when I am coloring, I try to always start by placing the pen to the paper where the shadows will be on. When I am coloring. I'm always thinking about shadows or where I want the Grady it to start from. For the next leaf, I'm going to place the color around both sides and feather the pigment into the middle. When I'm coloring, I try to always start by placing a pen to the paper where the shadows would be, and then feather the color out into the lighter or the highlight area of the shape. I can also blend multiple colors together this way. On this next leaf, I'm going to place green on the outside where I want it to be its darkest. And then I'm going to add some yellow, and then I'm going to take my brush of a little bit of water and blend the two together. You also want to make sure at this point that you don't overload your brush with water, or you could just chase all that pigment away. And on this leaf, I'm blending into the middle again the same way, I bet, and I'm doing it with two colors instead of one. I could also use three colors here. I'm going to start with the blue. Then I'm going to add some greed and then the yellow. And then I'm going to blend in together the same way. When placing colors next to each other, you want to know only tried to place the darker color where you want the shadow, but also place the colors next to each other with a mind to how they're going to blend together. So here, for instance, I'm placing the blue next to the green as mixing. The two will create a nice turquoise color Onda. I'm creating, placing the green and the yellow next to each other, because I know they're going to blend lovely together as well. So finding nice blends and color combinations is something that you can practice at, and it's handy to spend some time filling out a page of shapes on just experimenting of different color combos until you find ones that you like. Now I'm going to look at lowering because the pigments are water reactive. It can be tricky to layer effectively as you condensed herb the colors of the first layer. When applying the second, my tip here would be to make sure you're not using too much water on your brush. You want to tap off any excess water before putting your brush to paper on. This is the main reason why I find water. Brush is difficult in this situation because they push too much water onto the page. But any way you want to make sure that the previous layer is completely dry before you add any more pigment to it. On this first circle, I'm applying the second layer the same way I did the first, a line of color in the shadow that I'm blending it lightly out. You can also lay a different colors on top of each other. Here, I'm layer in the yellow over the green on I can blend us out of water, or you could leave it unbending. Depending on what sort of color saturation you're looking for. I often use a combination of blended lower layers, and then UNB lended upper layers when I'm coloring, so I will start with just blending outta Grady int and then once That's dry, I will go in again with the color on. I would just add a little bit of extra color into the shadow area just to darken up that shadow. You can also repeat these steps by layering more than one color together and blending different colors into each other. But on the whole, I find that I don't tend to use many layers. I normally just do two or three. You can, of course, keep layering as much as you want, or as much as the paper would allow. So for this final section, I want to look at different brush strokes ons using UNB, lended brushstrokes to create details. This would be the final step in a painting or drawing. Once your blended layers all dry, you can go in and you can create details and then leave those details. UNB lended. First, it's useful to try out the different strokes that your pens can make to see how much line variation you can get. The tapered strokes of the brush nips are some of my favorite details to add especially inorganic objects like flowers and leaves in these little squares at the bottom of the practice page. I'm just practicing some simple shapes and lines from Doctson swells and so on. As you add details and final touches to your coloring. Just remember that the pigment here will be in its UNB lended form so the ink will be darker than the rest of the coloring. It is, of course, optional or the effects and techniques that I show you her optional. But I wanted to run through a solid for foundation, so you have plenty of ideas for how to use your water based markers. So now that we've covered the various techniques, we can put what we've learned together on, get to some coloring. 5. Prep: now briefly. Before we start painting, I want to quickly address a few preparations that I may, as I mentioned before. This class comes of two printable coloring pages so you can follow along with me at home. Thes pages will need to be printed out onto 300 ground watercolor paper with waterproof inks. Now most home inject printers will probably not be able to do this, so there are a couple of alternatives. If this is the case for you, you can take the files down to a copy or printer shop and have them print it out for you. Most copy shops use laser printing. You can ask first to check this, and if so, the ink will likely to be waterproof. You can also usually take down your own paper, and they will print on it. So you couldn't take down your own watercolor paper and have the pages printed out with waterproof ink at a copy shop. Now, unless you live right next door to a copy shop, this could be quite a process. So what I would recommend is to print out the coloring pages onto just regular printer paper and then use a bright, sunny window to trace the lines onto your watercolor paper with a waterproof fine line or a pencil. If you don't have a sunny window, you can always put the brightness up on your PC screen or your tablet, and you could try tracing the coloring page. That way. These are just a few suggestions. Once you have your coloring page or drawing ready, I like to tape it down to a piece of cardboard. This piece here is actually the back, often old part of watercolor paper. I like to keep the backs of pads of paper because they make excellent drawing boards. I'm using masking tape here, but you could also use washi tape or painter's tape. Taping the paper down will help to lessen any buckling or warping during the painting process, and it also gives the A the painting a nice white border at the end. The last bit of prep is to grab some kitchen town and two cups of water. One of the cups of water is to wash your brush in, and the other is so that you can have clean water. So now everything's ready. We can get started first of all. I'm going to work on the girl coloring page and create a splashy, loose style of coloring. Then after that, I'll be painting the pattern and using radiance and more precise coloring. Don't forget that if you don't like real time to toils, I've included time lapse versions off both of these lessons as bonus videos. 6. Girl Colouring Page - Real Time: right. So now let's get started on the first of the real time coloring to toils. So I'm starting out by scribbling some of my chosen colors onto the acrylic block on. This is a quick picture off. What to the final piece will look right just so that you have a little idea of what we're working towards on. I've started out. As you can see on the left hand side, I'm picking out some colors, and I have a yellow, orange, pink, red and purple on. I pick colors very instinctively and based primarily on color studies and tests. Andi experience. If you know a little bit about color theory or about you have a color wheel handy. You could certainly pick colors based on that. But I just tend to go for colors that I know worked well together, Andi, that I have tested before And if you want to. If you want to test out your colors, you could test them on. Then just see what kind of works together, what combinations you like. I would always recommend starting with a limited color palette of possible anything between three and five colors. I wouldn't go for more than that for this particular style of coloring. So once you have your colors and I have a couple of different shades of each color, But you, you only you could just do this entire painting with five colors like I am doing here. So I'm doing the acrylic block technique on this. The very beginning of this coloring process is really just lowing up layers on. I'm not fussing about where it lands. I'm just trying to cover the image. Now I'm trying to place most off the color in the inside the lines, but I'm not wiling a tall if it goes outside the lines a little bit because I do want a few splatters and a bit of paint seeping outside the lines on. What I really like about this type of coloring is that it's very freeing Andi. It forces you to not worry about coloring inside the lines because you're coloring outside your coloring on top of the lines on. It's a very free and very it's just a very relaxing process as well. So I've done three layers off the acrylic block technique in each time I'm scribbling down all five colors onto the block, giving them a quick spritz with the water bottle Mr On, then stamping them down on. I'm making sure to leave the paper to dry in between each nyah, And if you get any places on the page where the paint is pulling too much or you're starting to get some muddy colors, you can just take a piece of kitchen town and just dab dab up the puddles to soak up that excess paint and then just doing upper layer on top of that. But it is quite important when you're doing there's layers, particularly those first layers with bucolic block. It's important that you leave each layer to dry completely before you go ahead and go on top off it again with more color on that. That will really help you to stop getting mud on to stop the layers from mixing. So once I done those layers, I'm now going in with the market airbrush to add a lot more color and to darken up the areas. You can really see how light the colors are once I've stamped them down. So you do need to build this up in layers now going in and I'm adding some splatters with a paintbrush. Now, if you don't have a market airbrush, you could certainly do this entire painting with just using a paintbrush. What I would do is I would do a cup, take a couple of different paintbrushes and different sizes so that you get smaller splatters and larger splatters. And the reason why I'm using the combination of the airbrush and the paintbrushes because the airbrush does a very fine splatter. And then the paint brush. I can get much larger splatters, and I'm just using my finger to tap the paint brush against. To get the splatters, you could use another. You could use one of the pens to tap against. You just want to mix and paint on side on that on the acrylic block, loaded up quite a bit of water, make it very wet and then just splatter it onto the painting on. I am trying to keep most off the paint inside the face in the hair area. I'm not worrying if it goes outside, so you want to keep most off the paint inside that area on, then just let let a little bit go on the outside to give it that mixed media splattering effect. So I let that dry once again. I have cut some footage out of this video just to make it a little bit more manageable. In total, the total coloring time for this piece was about 20 minutes. Andi, I've cut it down to 10 and I've cut out all the drying time on a little bit of the repetitive action just so that you guys eso You don't have to sit here for too long watching me do the same thing, but you can leave your piece to dry. Naturally, I was using a heat gun to speed up the drying time. Any or you could use a hair dry. Anything will work. So now I'm going in and I'm now starting to pay attention to the lines. So when you do those first steps with the acrylic block in the airbrush you want to ignore or the lines, it doesn't matter. You just want to get the paint all the color of the paint, the ink, whatever into the middle of the subject. But you don't want to pay any attention to the lines now in this stage off the coloring. We want to kind of bring back the lines. So what I'm aiming to do is I'm meaning to make her face suddenly sort of come out off the painting. And to do that, I'm adding in some shadows. So I've used the pink on. Then I took some red and lead over the pink on, but now I'm using the purple. I'm just layering up a few of those colors that I used in the background on for this whole of this painting. I'm only using those five colors on. I'm sort of blending it in the little bit. Now, with a little bit of orange in there on, I'm adding some shadows under the chin where the hair meets the neck around the eyes on the lips. The nose is. I've added some color inside the eyes just to give some extra shadow and dimension to the peace. And now I'm using a little bit of water to blend the colors into the background a bit on here. As I mentioned earlier in one of the previous lessons, you when you're living up the colors like this, you want to make sure that you're not using too much water you don't want to over saturate the page. Otherwise, you could potentially move all those colors underneath. So that's something you just want to bear in mind now. I'm also adding a little bit of dimension to the middle of the flowers and the leads as I was waiting for the face to dry. And that's one of the things that I often do when I'm doing A painting like this is I like to jump around, so I will sometimes use my heat gun or my hair dryer if the whole painting needs drying drying. But otherwise I will just move on to a different section, work on that section, leave the other first section to dry and then come back to it and just sort of rotate on its. What's quite nice about working like that is you can kind of balance up the piece as you go . So instead of working all in one piece and getting it to ah finished point, if you work a little bit all over the place at a time, you consult of balance up the shadows and get it and sort of see how the whole thing is coming as you're working on. Once at first, layer of shadow on the face was dry. I'm now going in with a darker purple, and I'm just adding a little bit of extra dimension to the to the deeper shadows of especially under the chin, down where the hair meets by her neck on where the hair overlaps on her face, particularly in those areas and above and on the eyelids on. I'm now just taking a tiny little bit of water and just blending that in. I'm hardly blending it a tool because I still want that depth there. But I don't want a really harsh line. Whilst I'm waiting for that to dry again, I'm going back in on. I'm adding in some shadows, into the flowers and into the leaves for leaves. I tend to outline where the stems are, so if you look on the line up for this coloring page, I've outlined the stems and I tend to outline those stems again with the color. And when I'm shading in the flowers, I tend to put the shadows in the middle of the flowers to make them have dark centers on. Ive also added a little bit of a drop shadow effect round the flat around the flowers in their hair. So I've just added a little dark line of purple round under all the flowers and leaves that are overlap lapping on her hair. And now I'm just going back in a little bit with the airbrush. Just add a little bit of extra yellow because I felt in some areas that it it would it have blended a little bit too much on. This is something that you can address as you go along. You can see how the the color the colors are balancing and whether you need to add a little bit more. And if they're places where you feel like you've blended a little bit too much and you want to bring a bit of the splatter back to it, you can just grab your airbrush or your paint brush and just add some more splatters on top , and you can keep on loving and playing around until you like the result. I do find that with this sort of painting, it is it tends to be better if you don't overwork it. So I did, I would say, 3 to 4 layers with the acrylic block, then do ah layer off, splattering with all the all the colors and then work on layering up the shadows. Now I chose just to bring the face out of this painting, so I haven't shadowed in or colors in the hair in any way on. I haven't fully covered in the flowers. I've I've just added a little bit of dimension, but I've saved most of the major shadowing I did for the face on. That's because I wanted the face to come out of the drawing. Now if you were, if you had drawn a different subject matter an object you could easily choose what part of your object or subject matter that you want to pop out, And that's the part you add shading to. So now I'm adding in some white highlights now, or this is an optional step. If you don't like the white highlights, look. And, of course, you can adjust along these all the steps that I take in these two toils. I'm just trying to demonstrate how you could apply the color and how you can apply the techniques we learned in the previous lessons to a physical finished piece. Andi, I always finish my pieces off with a white paint pen on, I added somewhat highlight lines down the bridge of her nose, on her lips, around the chin, in the eyes, especially on. I like to do lots of little dots on sparkles on little stars in the flowers just to I just really like the whimsical look that it gives the piece on. I added a couple of lines in the hair, but I decided to leave the hair very much alone. One of the things that I really like about this coloring style and this technique is that you can do it with only five markers, but it looks a lot more complicated. It looks like you may have used some colored pencils and some different media, particularly on the shading on her face. But because you have you, you know you used to collect Block on due to some splattering in some different techniques . You could do all that with only five markers, and I think it's very effective. So I hope you enjoyed that tutorial on in the next lesson. More work on the pattern coloring page 7. Pattern Colouring Page - Real Time: Okay, so now let's get started on the pattern coloring page and I have started out, as always, by scribbling, scribbling down some different colors on coming up with a limited color palette. On, I use a limited color palette for pretty much every single drawing or illustration painting that I that I color, whether what whatever it is, whether it's a pattern or portrait, I'm always using limited color palettes, and particularly for a piece like this, the colors are really important on having a limited palate will help your piece to look very well balanced in cohesive at the end. So for this painting, I'm using four colors amusing a blue, a purple green and a gray on the way that I've picked the colors for. This is I've picked one color that's going to be my highlight color, so it will be the style of the show. It will be the hero color, the color that you see that stands out to you the most. So when you look at this piece, when it when it's finished, you'll see all the different colors, well balanced. But if you had to pick one color that the peace represented then you'd sale. This is a purple pattern, then I've picked two secondary colors and those of the blue and the green, and a secondary color has to go well with the hero color, but they it doesn't want to overpower each other. So though the green and the blue both go really nicely with the purple. But they're similar enough to each other that they don't overpower each other, and they don't overpower the purple because the purple is different enough on then I've chosen the gray as my blender color on a blend. The color is a little bit like a buffer color. It's a color that goes well with all the different colors in the palette. It's a filler color. It's a color that you can put in the backgrounds of things, and it's just a color that helps to tie all the other colors together. So that's my thought process. When I'm picking colors for a pattern like this, if you would prefer to use a color wheel or a color palette or on online color palette generator. There were some websites where you can look a pictures and they'll give you some color palettes and I actually have a book that's full of color palettes as well, and I'll leave some links to these. Resource is in the supplies. PdF, which you can download from the school share class page, tend to pick colors very instinctively on die pick colors, based, as I mentioned in the previous lesson, mostly based off experience and just testing colors together, scribbling them down on paper to see how they look on gwot colors I can use. And in the end, if you stay with the limited color palette anywhere between 3 to 5 colors it you can't really go wrong, because when you're working with limited color palettes, even very bold and clashing colors can end up working. So when you're working on a piece like this, it's very important that you keep two things in mind when it comes to the coloring. The first is to evenly distribute the colors, and what I mean by that is you want to not have a too much of one color in any one place. You want to radiate the colors outwards, and you also don't want to put the same color next to each other. If you can avoid it. So the way the eye color in order to help with this is, I contend, because this is a center radiating pattern square. If your design is different, if it starts from a corner, I would I highly recommend. If you're working on a piece like this is either start from one corner or to start from the center on DTA, put one color down. It doesn't matter which color it is. Just place one color down in the center and take another color a different color on Put it around in the next round of objects. So, for instance, here I've put purple in the very center. Then I've put gray around the outside of that send of flour and then on top of that, around the outside of the gray. There I've put ordinating purple and blue of green in the middle. Then on top of the little blue sections, I've put purple on the not top with the little purple sections. I've put green leaves so you can see how I'm alternating the colors on. I'm trying my best not to have that same color against each other twice. Not occasionally you take, particularly because I'm working only four colors you will get. You may have it happen where two colors will end up next to each other, but on the whole, you want to try to avoid that, and also by working from the center off the pattern and radiating outwards, you can help to evenly distribute the colors, and it's important that you don't have lots of purple on one side of the peace and then not enough purple on the other side. So what I like to do is I will take one element on. I will color it in, and then I will repeat it all the way around now, because this pattern is replicated, it replicated it before corners is quite simple to achieve that. Now, if you were doing another type of design again, you just want to make sure that you're consistent with your color placement on by working on one little element at a time, one shape at a time. It's very it's It's easy to make sure that you don't miss a part. I think it's much easier to work to color one piece and then you can see I'm coloring and I'm then blending it and then I'm moving on to the next piece. And it's also quite nice doing it this way because it this is This is a very long coloring process much longer than the previous lesson. It took me a total off 45 minutes to color. This piece on Die have cut a lot of it out of this video because it's very repetitive. And I didn't want you guys to have to sit through me doing the exact same thing all the time because it's a long and it's quite repetitive by coloring it Insel sections like this . It can really help to keep you motivated when you're coloring something like this because you can really see it coming together as you go on board the way that I'm coloring it in terms of the shading, I'm just replicating the Grady in technique that I talked about in a previous lesson. Now, in the last column in tutorial, we ignored the lines for the most part of the lesson on. We were coloring over the lines, Andi. Then we did a little bit of coloring inside the lines at the end, but basically we were ignoring all the lines with this piece. I am paying a lot of attention to the line, so this is really coloring within the lines on. I'm just starting by placing a line of color around one edge off a shape around the entire edge. I'm ordinating how I'm doing the shading, but I'm keeping it consistent all the way around the shape. And then I'm just liquefying that shape and pulling the color out into the other edge so that I'm instantly creating the shadow Onda foreground color and then blending it out to a very pale highlight color. In that way, I can create instant dimension. Now you you could easily color a pattern like this, just were in a color block fashion, so without any shadows, and it would look just as nice. But by adding a little bit of shadow. And by using the radiant technique, it's really simple to create extra dimension that will really make for coloring pop and give the whole piece quite a lot of extra interest on. This is a very complicated pattern, so you could you need to take your time of it. Andi, I'm no, I try not to rush this sort of thing. it's what I like to do is to put on an audiobook or podcast, or you could put on some music or a movie. And just relax and have some have fun coloring on. It is really worth while taking your time with this piece on, carefully sticking within the lines, because once you you only really need to do one layer off color on this piece. So if you can really take your time with that first layer on, blended out because you don't need to do any last in order to get the dimension on this piece. Now round the outside for the outside border. My general rule of thumb when I'm doing borders like this is like place the darker colors on the outside of the border. On on, I've left the middle of the pattern white so that there is a little bit of white in the piece, and that's another thing to bear in mind when you're picking colors is that if you're white can be a color in your palate. So when I'm looking at this piece, I've got four colors and a white, so you could say that I've got I've I'm using a five color palette for this. The purple, the blue, the green, the great and a white on. I've just left the white in the background to help the ornamental motifs stand out a little bit more, and I put the green in the blue around the outside, on then some gray on the inside of those borders, because when you're doing borders, you need. It's often a good idea to use the darker the darker colors in your palette. And I am going in, and I'm adding a tiny little bit of extra shading in a couple of places by just running the pen along the darker line again inside the objects. But you really don't need to do any shading for this piece because you've created that Grady int shading in that first layer. So even though it will take a while to do the first layer, the the peace doesn't take a Norfolk. You can do this this entire piece of coloring in under an hour because you're just doing one layer. But it makes it look like you've spent a lot more time on it because of that radiant shading. And now I'm going in and I'm adding a few little highlights of a white Posca paint pen if you were. This pattern is very detailed anyway, but if you were working on a pattern that had larger objects or you're working on a pattern or just a group off motifs or objects that have much larger spaces, you could at this point, take the opportunity to do some little details. Like I discussed in one of the earlier techniques video where I was making circles and squares and little so little shapes with the UNB, lended brush strokes of the brush pens. And that would be this would that this point, this would be well, I would add those sorts of details. Now. I'm not adding those details to this pattern because it's already very complicated and it's not necessary. But if I if the shapes were bigger and I had a little bit more space to feel, I would go in and I'd add in some little UNB, lended details and flicks with the pen and do some things like that so you can really experiment with these sorts of patterns. Andi used brush pens in a couple of different ways, so that's the pattern coloring page. I hope you enjoyed this lesson I mentioned earlier. If you would like to see both of the real time coloring tutorials sped up, then I have a couple of short bonus videos next in the class. If you'd like to watch those. And if you don't, then you can skip ahead to the final force video. 8. Girl Colouring Page - Time Lapse: - way . 9. Pattern Colouring Page - Time Lapse: 10. Final Thoughts: so that brings us to the end. I really hope you enjoy this class. Please feel free to take some pictures of your class projects and to share them in the gallery. I'd love to see what you will create and make sure you send any questions. You have my way. I'm happy to help. I hope that this class has provided you with some ideas and inspiration. Water based markers, whether they're dollar store felt tip pens or riel brush pens are fun to use, and I hope you enjoyed unlocking the coloring possibilities.