Transcripts
1. Welcome!: Hi, I'm Carla, an illustrator
who loves working with alcohol markers and uses them
regularly in my own work. In my first alcohol
marker class, we explored how
markers work through pressure, speed,
blending, layering. We talked about
paper, and we talked about a few other beginner
friendly techniques. But maybe now you're
wondering, okay, but how do I actually use all
of this in an illustration? And that's exactly what we'll do in the short follow up class. Instead of focusing
only on technique, we'll focus on the full
creative workflow, how to go from a simple
idea or subject to a sketch to a small finished
alcohol marker illustration. We'll start by creating a simple sketch,
using color pencil. Then we'll choose a
smoke color palette. Up to five colors, so the process feels clear and manageable instead
of overwhelming. After that, we'll
apply our base colors, use simple blending and layering
to add shadows and depth and finish the illustration with small details and texture. This class is for beginners who already know the basics
of alcohol markers or those who have taken my first alcohol marker class and want a simple next step. It's also for anyone who feels comfortable following
marker exercises, but gets a little
stuck when it's time to create an actual
illustration from scratch. By the end of this
class, you'll have a finished mini illustration, and more importantly,
a repeatable process, you can use a gift. I think this class
can help you to move from practicing
techniques to feeling more confident creating your own alcohol
marker illustrations. Welcome to the class.
2. Materials: For this class, I want to keep the materials simple
and accessible, so you don't need a
huge marker collection or anything fancy
to follow along. You will need three to
five alcohol markers. I recommend choosing
a few colors so the process feels manageable, and so we can focus more
on the workflow and the technique instead of getting overwhelmed by so many options. You will also need
something to sketch with. I suggest using a color
pencil instead of a regular graphie
pencil because graphi can smudge once we start
adding marker ink. A light colored pencil
is usually easier to camouflage onto the markers
once the ink dries. But if you only have a regular
pencil, that's okay, too. Just try to sketch lightly or use a softer graphie pencil. You'll also need an eraser. So scrap paper to
test your colors. And the paper you'll use for
your final illustration. Printer paper is perfectly
fine for practicing, but if you have a sketchbook or a marker paper, even better. And for optional materials, you can use color
pencils, crayons. If you have it,
you could even try to use a colorless blender or any extra supplies you feel you like for final
details and textures. These are optional, but they can be really fun for adding
details in the end. For this class project,
this is what we'll make. I wanted to sudro this tiny plan character because I think this little guy will give us enough variety to
practice shapes, shadows, texture, and details without becoming too overwhelming
or time consuming. But we'll sketch this step
by step before adding color. The goal of this project is not to create
something perfect. Actually, I would
like us to just practice the techniques
we have covered before so the process feels
natural and you feel more confident when
using your alcohol markers.
3. Planning The Illustration: Before we start coloring, we're going to
take a few minutes to plan the whole illustration. I like to do this
because I believe that a little bit of
planning can make the coloring process
feel much easier. For this illustration, I suggest choosing just
four to five colors. Don't worry too
much about whether your colors match
perfectly because this class isn't about
complex color theory or color theory at all. I just want us to
feel more comfortable using your markers in
an actual illustration. Having said that, a
simple way to choose your colors is to
think of them by roll. And if you are not sure
what colors to pick, you could look at
color combinations that already exist in real life, like plants, flowers and leaves, fruit, the sky, mugs, anything. I have a Pintresbard
with palettes I like, and I will link it in resources. Once you've chosen your colors, let's think about
color blocking. As we have covered it before, this simple means deciding where each color will go
before we start coloring. I find this really
helpful because it makes the coloring process
feel less overwhelming. Instead of freezing halfway
through and wondering, what color should
I have used here? You already have a loose plan, and if you get tired
of coloring one area, you'll know exactly
where to move next.
4. The Sketch: Now that we have a general plan, let's start sketching
our illustration. This is where this class
becomes a little different from the first alcohol Murger class because instead of only
pretches and techniques, we're going to create
a simple drawing that allow us to actually
use those techniques. I would like to keep the
drawing simple so we can focus on the coloring process and the techniques we'll use. I'm going to sketch lightly
with a colored pencil. This is the one
I'm going to use. I recommend you getting cheap colored pencils for sketching. I think
they're great. The pigments are really
not of great quality, but that would allow us to
erase with no problem at all. As I mentioned before,
I prefer these over graphite because graphite can smuch once we add marker ink, and color pencil
is usually easier to hide under the
marker once it dries. This is also something
I recommend in my first alcohol
marker class when talking about sketching
and avoiding smudging. Let's break the subject down into basic shapes.
Let's start with a mug. I would like for my mug to be square because I think
that will be easier. So I'm going to sketch
it about here and I can leave this bit
for the leaves. Something simple like
that. Try to keep your shapes clear and leave enough room
space for coloring. If the areas are too tiny, it can be harder to
control the markers, especially if you're still
getting used to pressure, speed, and ink flow. Okay, I'm going to
draw the mug handle. Also, remember that the sketch doesn't have to be perfect. We just need a cleared guide for where the colors will go. Small imperfections can be
adjusted later with color, shadow, texture,
or final details. I don't like to call
them imperfections. I think they actually add
character to the final piece. Now, for the leaves, I like to think of
them as just shapes. So I'm going to think of what
shapes I want to include. And once again, considering
the size of them, so it's easier for
me to color them in. So I think I'm going
to go for perhaps like a clover shape and I want
them to be one right here, maybe another one right here, and one right here. Then I'm just gonna find
the center of it and draw the leaves. Like so. I would also like to include
some heart shaped leaves. Perhaps one right here. One right here. Maybe one right here. Yeah, I think that's
probably good. Now I'm thinking that
there is not going to be enough space right here for me to draw a face, but that's okay. We can always make the
mug a little bit bigger. Now, I would like to add a I don't know what
I call this shape, so I'm just going to draw it like like a feathery
leaf, perhaps. One right here. Another one right here. Now, the center is getting
a little bit empty. So let's start thinking of adding another one,
perhaps, right here. Yeah, no, that's good. And I don't want to
add another one right here because two similar shapes will be too close to each other. So I'm going to perhaps
add another shape. Maybe I'm going to draw a fern type of leaf.
Something like that? Yeah, no, that's good. And
I can add another here. So it separates the two. Even though they're far apart, I think it could be good for
them to be apart, like so. I can add another
one right here. Another one right here
to separate this two. Doesn't matter if they
overlap, but if they do, you just have to be mindful
of how the ink might bleed. So be careful with that. Another one right
here, smaller one. You can play with
different sizes as well, so you can draw a smaller leaf right here and a
bigger one right here and just keep in mind what's going to be easier for you when
it comes to coloring. Maybe more leaves like that. I think that's good.
I'm happy with it. Now, let's draw a little face. And for the face, we're
gonna think shapes as well. I'm not entirely sure
what kind of expression I want my planned
character to have. Something peaceful,
I would think. Something peaceful
would be great. So maybe have a circle like so, the little nose and the mouth. I actually really
like this line. Perhaps I can add
another color here, so it could be one
of those trendy mugs that I've seen lately. If you want and
only if you want, you can add hands or
little feet dangling. Perhaps I'm gonna
add little hands. So just like so. Ooh. There you go. I'm actually quite happy
with how this is looking. I kind of feel
like I need to add another clover figure
right here 'cause it kind of looks a little
bit empty on this side. Yes, I'm pretty happy with this. Perhaps another heart shaped
right here, a smaller one. Another thing that
I would suggest doing while you're doing your sketch is to try to
think in color blocks. If thinking in shapes perhaps doesn't
really work for you. Ask yourself, where
will the main color go? Where will the leaves be? Where I should I shadows, or do I want small details? This will make the
coloring process much easier because we're
not just drawing lines, we're preparing a simple
map for the markers.
5. Color And Technique: Now that we have our sketch and our colors plant, we
can start coloring. I apologize if my hands
are a little bit messy. I had to do some ink refills, but we're ready to start now. I always recommend
placing scrap paper underneath to avoid bleeding onto the other
pages or surfaces. As you can see here, this is advice that I did not follow. I like to do this when I'm
using my sketchbook, as well. As you can see, this is a
brand new piece of paper. Okay, for the first layer, I'm just going to place
the main colors and trying to keep the color
areas clean and simple. These are the colors that
I'm going to be using. I'm going to be using five. But remember that you can
use as many as you'd like. Now, this is exciting.
This is where we can start applying some of the concepts
from the first class, pressure, speed,
and hand movement, which is basically ink flow. These are the little things that can make a big difference in how even or texture
the final color looks. So if you want something
flat, keep that in mind. If you want something
more textured, keep that in mind, too. I always suggest starting with the main color or the color that you
want to use the most, like, the most exciting, or the bigger piece. For this particular exercise, I would suggest selecting
the area that is larger. In this case, will be my mug, because that will allow us to warm up if we haven't
done that before. Now, let's grab our
eraser and let's start getting rid of the markings
very, very gently. They just have to be there for us to see it
when we're coloring. Don't worry if they don't
disappear completely. Now, back to the textures, use steady pressure if
you want a smoother, more even finish and try
to move quickly enough so the ink doesn't dry
halfway through the area and create
unwanted streaks. At the same time, don't worry
if it's not perfectly flat. Alcohol markers need to have
a bit of personality and small variations
can actually make the illustration feel more
handmade and interesting. So if you have a
marker like this one, I have a copic
sketch, and they have a chisel tip, and they
have a brush tip. I suggest starting
with the chistel tip. I like to use the brush tip for detailing and
stuff like that. One thing that I always, always like doing is to start outlining the area
first for two reasons. That diminishes the bleeding outside of the line
a little tiny bit. And also, it's a reminder
for me to work quickly. So I'm going to start right
here outlining this bit. I personally suggest working in circular motions that allows
me to cover larger areas. And I think it creates
a lot more texture. We can go over
certain areas to make the area a little bit more smooth, if that's
what you prefer. I would suggest also working with a little
bit of pressure. So our hand movement, if you want to create texture, I would recommend
circular motions. I think these are
great for creating unpredictable little
pools of ink. We can outline a little
bit more, and I like that. It kind of gives it a
little bit of highlights. Now let's draw the handle. Something like that. Now let's
move on to another color. I think I'm going to
be using this one. Now, we're going to be coloring two areas that are
gonna touch each other. Try not to overwork the paper. Sometimes when we keep going over the same
area again and again, the paper can get too saturated, and that's why we might get bleeding, feathering
or patchiness. So for now, let's keep
this first layer simple. We're going to let it dry a
little bit because to me, it seems like it's dry, but
I don't fully trust it. So let's move on to
the feathery leaves, and I'm going to use this color. Once again, this marker has a
chisel tip and a brush tip. As shapes get a
little bit smaller, sometimes I do like to
use the brush tip to outline just so I feel like I have more
control over the shapes, especially if they end
in a line like this. And we can go over again to
avoid getting those lines. I really like to work quickly. And for these shapes
that are smaller, sometimes I don't
have enough room to do a circular hand movement, so it's quicker for me to do straight
ones, and that's okay. They're not going
to be as textured, as you can see as
the little mug, but it's fine because
I think it creates a nice contrast between
textures and flat surfaces, which is something
that you can explore as well in your illustrations. If you don't like oversetratd textured work, that's
another option. I'm going to try and do
more circular motions here, but the shapes are getting
a little bit smaller. Now we can start coloring the little clover cycle,
and they're not clovers, but we can start
coloring the clovers, cause I think now
this orange color is dry erase that a little bit. Now, things are
getting a little bit trickier because the shapes
are getting smaller. So once again, I
have a chisel tip, and I have a brush tip. You don't have to have
markers that have dual tips. You can work with bullet nips. We can work with whatever
works best for you. This is just what
I happen to have. But for these ones, I am definitely
going to be using the brush tip to color them in. I apologize if my markers
are a little bit yucky. If you happen to
have a brush nib, I think they create a lot
of texture just because it allows a lot of room
for your hand to move. Like, the shape is
really flexible, so it will move a lot. So it will create a
lot of hand movement, and it's going to be creating
a lot of texture as well. As shapes get a
little bit smaller, I would also recommend
reducing the pressure, just because that would allow us to have more control
over the ink flow, and that would allow us to stop the bleeding
onto other areas. And if you think the
color is too light, don't worry, we can go over it again and create a new layer. But I would recommend
for smaller areas, definitely try working
with less pressure. Now, you can totally
see the difference between a circular
hand movement, a more straight hand movement, and circular hand movement
again with less pressure. I think sometimes when
shapes are really small, we tend to feel a
lot of pressure, and we tend to apply more
pressure onto the paper. Just remember that it
depends on what you want to achieve and just be mindful of the bleeding
that may cause. Yeah, let's try this blue one. For this one, perhaps, do I want texture or not? No. For this one, I don't
want a lot of texture. So let's just try not to. So let's just erase some of the shapes just enough so we
can see what we're doing. For this one, I'm just going
to be using the chisel tip. And it doesn't matter
if it's not perfect. We can correct it later. We just want to
apply a base color. Another thing, if you
like this effect, try lifting up the marker, going to a different
area, and go back. That would allow time for the go to dry just to
tiny a little bit. Let's try it right here.
Let me outline it. Now let's go to the here. Now, here and here. This is good if you are not a big fan of working
in circular motions. If your hand movement, if it feels more natural for you to just move your hand up and down instead of in
circular motions, but you still like this texture. We're nearly done
with the main layer. Now we have these
little shapes left. These I'm not too worried about because I picked
red for this one, so it doesn't matter
if you can still see a little bit of red underneath or if it's more
noticeable, rather. Now, for this one, I'm going
to be using a marker that has chisel tip and a bullet nip. For this one, the room that
I have to color is so tiny. So, so tiny, so I'm definitely have to
use the bullet one. I just feel more comfortable. Once again, not a
lot of pressure. I'll go ahead with up and down movements instead
of circular ones because I don't really have enough room for any
circular motions in the. Now, be really careful
with the bleeding. Personally, I think that
less pressure is always best because you can always
go back and add more pressure or more
color you needed. But it's really, really
hard to correct something that you drew with a lot of pressure and
you don't quite like. And this is something that
I would also like to say. You kind of have to work
faster with markers, but don't let that to
be a source of anxiety. Remember, we can go back
and correct it if needed. So don't feel pressured
for things to be perfect when you're
coloring your first layer. I would suggest for
things to feel more playful rather than stressful, but I totally understand that it can feel
really stressful. Once the base colors are down, we can start adding a little
bit of depth with layering. Layering is one of the easiest
ways to make a hallmark or illustration feel
more dimensional without making the
process too complicated. We're not trying to make
this hyper realistic. We're just adding enough shadows to make the illustration
feel intentional. So that's exactly what
we're going to do. But before adding shadows, choose a simple direction
for your light. For example, let's imagine the light is coming
from the upper right. That means most of our
shadows will appear on the opposite side
towards the lower left. I'm going to start with this color because I think
enough time has passed, and this is already dry. And you know that the
important thing is to let the first layer dry before
adding the next one. In the first class, we
talked about how layering works best when the ink is dry because that helps us
build richness and depth instead of blending
everything together. Now, for the shadow color,
you have a few options. You can use the
same marker and add a second layer once the
first layer is dry. This is the easiest option, especially if
you're working with a limited color palette. Or you can use a
slightly darker or mud meuter color if you want the shadows to stand
out a bit more. For example, for these sketches, I used this one in the
past for shadowing. And for the sketches, I
used this specific marker, and I think it worked
pretty nicely. But we're going to
keep it simple. So for this sketch, we're
just going to be using the same colors that
we have already used to create shadows
and create another layer to just make things a little
bit more alive, let's say. So if we're saying that our
light will come from here, let's just keep in mind, or let's imagine that the
light is coming from here. So this is where we
want our shadows. They're going to be
at the opposite side. So instead of the right, they're
going to be on the left. Instead of being
up here, they're going to be more like down here. So as I said, for details, I really do like
to use brush nips. If you don't have a brush
nib, it doesn't matter. For this one, I do like up and down movements
because for shadows, I don't particularly tend
to use a lot of texture. I think I use textures
more for the base, also because I think that movement allows
me to build the layer, the second layer a
little bit more. Now, there is this
little petal ray here. That I'm also going to
be adding a shadow too. And since the light is
coming from down here, we're going to be adding
a shadow right here, too, maybe here too. You can create some blending if you don't like
the harsh lines. Just with a very, very,
very soft pressure, just go up and down and
just make the transition. Personally, I do like
the harsh lines. So I'm just going to
leave it like that, but you can just go
over the dark bit. All let's go with this one. Once again, I'm going to
be using the brush nib. If you can still see some of the original
outline you did with, this is the perfect
moment to fix it. I'll create some blending
here going up and down. To create this kind of
texturing it kind of blends the colors
a little bit more. Actually, let's do
that with all of these because they don't
have a lot of texture. Well, it's still wet.
Just work just the bottom bit and allow it to dry. If you want, you can create some blending by
softly feathering and lessening the
pressure as you go up and as it blends
with the dry ink. Try to not overwork it too much right now because the inks still wet and the final
color is not set yet. So give it a few minutes, and if you think that
the blending needs a little bit more color, then you can go ahead
and give it another go. For example, let's
see, right here, I think the blending
is not quite clear. So what we're going to
do is just go ahead and give it another layer and
starting with medium pressure, and then with light
pressure as we go up. And as you can see, it creates
a more interesting result. Pressure is not only good to create textures but
for blending as well. As you add shadows,
keep them simple. Think of them as little cues that tell the
viewer where things overlap or the form curves or where the light
is not reaching as much. For this clover or
for this flower, we can also add a little
bit of shadowing right here underneath each leaf to make
it look more dimensional. Once again, it doesn't
have to be perfect and remember that the light is
coming from this direction. I always like to keep some really little reminder of where the light
is coming from. This doesn't have to be perfect. We're just using the techniques we already know light pressure, simple layering, a little bit of planning to make the
illustration feel more complete. Now that we're okay
with the shadowing, we can go ahead and start
with the detailing.
6. Details And Texture: Now that we have our
base colors and shadows, we can move on to one of my favorite parts,
details and textures. This is a stage where
the illustration starts to feel more finished
and more personal, too. It's where you can add
little marks, highlights, patterns or textures
that make the drawing feel more alive,
and also more you. For this step, you can use
whatever you have available. I will be using a few
optional materials. I really like to use specifically prisma colors
over markers because usually, even though I like textures
with markers, usually, markers tend to be
a little bit flat, whereas prisma colors
because they're a little bit oily tend to leave
a grainy texture, and I really, really love that. Now, I would suggest
here to keep things very simple like
colored pencils, crayons or a white gel pen. I wouldn't suggest using watercolors or guash
at this point, because they can be pretty tricky to work with the type of paper we're using for markers. Plus, we don't have to
overcomplicate things. I truly believe that
color pencils or crayons are a perfect
match for alcohol markers. This is also a good moment. To bring back the idea
of hand movement, which we talked about
in the first class. Small movements
can help us create different effects
like strokes, dots, circular marks, fine lines, or texture in specific areas. For example, on this
plan character, I might add small
lines to the leaves. Now, one thing I would suggest
is to pick colors that are a little bit either darker or lighter than the
markers that you used. For example, for
this Russi orange, I really like to pair it
with this tuscan red. I think it creates
a nice contrast for this mov pink I might use this one or I might even try this more like magenta. I'm definitely going to be using this gel pen for the blue. With this dark blue, I actually quite like to pair it with something a little
bit lighter like this one, just to create some contrast. For this one, I perhaps
would use this one. And for the red, I'm going to start with
this tusk and orange. And as we're going to
be using hand movement, I'm going to try up
and down movements to accentuate the shadow
that I created here. Personally, my favorite bit about detailing is that
it can be really free. It doesn't have to look perfect. It doesn't have to be anything. To me, a good detailing
is just playful. And then with your
finger, you can just make it a little
bit more subtle. If there's a line that
should be defined, and if it's not quite defined, I just like to trace it
with a color pencil. And remember, if
you're using shadows, remember where the light
source is coming from. I said that I was
going to use this one, but now I'm actually quite liking how it looks right here. And using the same
color multiple times can make your drawing
feel more cohesive. So I'm just going to
be drawing a line or a stem that goes
down like this. I'm also going to draw
the little centers of these clovers right here and I'm going to define the petals. I also know that
I said that I was going to use either these two. I might use them in a bit, but I am really liking how this color is putting
everything together. The key here is to use
details with intention. Details are fun, but we don't need to cover the
whole illustration. Sometimes just a few small marks are enough to make the
piece feel complete. Once again, I'm going to try and accentuate the shadows using the same hand movement
that I used for the shadows or for the
blending that I created here. I'm going to be really
careful trying not to overthrow the shadowing, so I still want it
for it to be visible. One little trick
that we mentioned in the previous class
is that you're using specifically Prismacolor
or polychromos, if you go over the
pencil with your marker, that will create a
very soft blending. Let's try with this one. It's subtle, but I think
it works really nicely. And once again, just don't
judge it right off the bat. Remember that it
needs time to dry. But once again, with
very, very soft hand movement and
very light pressure. This is really good to
create hair texture as well. Now, for the blue part, I'm definitely need to use a lighter color
just because I think, but I think I've been
using quite a lot of the tuscan red in the kins. It's kind of looking
a little bit dark, and it needs highlights as well to create that
interesting contrast. Okay, for this one, I'm
going to try something. I'm going to use this blue, and I'm going to create texture
using circular motions. So changing the hunt
movement a little bit. I'm also going to be
adding a little dots. I quite like it, but I
still think that it's kind of looking a little bit dark and it lets a little
bit more highlights. So, I like to look at the
illustration and ask, Where does it need a
little more contrast? Where could I add a texture
or where could a highlight or a small pattern
help guide the eye? So, right now, I think this blue is a great opportunity for me to use this gel pen. And I'm just gonna
add some dots. They're gonna be in
different sizes as well. Also, just be careful. If you're working on this
area with a gelpen just let it dry
because otherwise you're gonna create as much. So just be mindful
of where you're working. We're gonna move it. So allow it time to dry. Now, if you can see right here I didn't color things that nicely. So you can also add details to fix or to soften
small imperfections. If an area looks a little
flat, you can add texture. If an edge looks messy,
like right here, you can define it with color
pencil or a subtle outline. If something feels unfinished, a few highlights or small marks can help bring it together. So let's try to fix
this right here. So I apologize if you see
hair every now and then. It's just cat hair. My cat likes to
nap on this desk. So yeah, sorry about that. I do like it, but
I do think that it will look better
with the tuscan red. So I'm gonna go over it. Yeah, I think it just gives it a little bit more definition. Once again, we can correct
it if there are spits that are not that connected
to the main stem, as in leaves are not
connected to the stem, we can definitely
fix it with a color. But it does need highlights. So I think I'm going to be
using this magenta with, again, circular hand movements just to create a
little bit of texture. And even though we're not
using markers right here, pressure is still a
big element here to consider and hand
movement as well. Another thing that we can use that we haven't
used is pastels. They work great with
markers, I think, because they are so soft
in comparison to markers. I think markers
can be quite bold. So why don't we try creating a soft background
for this character, and then we can add
details to the face. So for this final step, take your time and add
a few details that support illustration
without overwhelming it. The goal is not to make
it more complicated. The goal is to make
it look thinished, expressive, and a
little bit more. Don't worry if you
don't have pastels. I just had this
one laying around. When I'm using pastels, I like to use one of these. I just find it
really easy to use. If you don't have pastels, but you like the effect
that it creates, what you could do is grab one of your colored pencils and either use a knife or use the blade of your
pencil sharpener just to create the dust, and then you can just sprinkle
it over your illustration. And with the tissue, you can lend color into
the illustration. It won't be the same, but it will create a similar effect. Now, be careful here
because you don't want as much the color pencil. There are a few things that
we can do at this point. We can go over certain areas that you feel that
need more contrast. I definitely feel
that the clovers or the flowers I drew
need a lot of contrast. Perhaps I'm going to go
over these ones right here. And if you think that still needs a little
bit more contrast, you can definitely add. I like adding little dots, but you can add, like,
stars or sparkles. I just think that adding these little dots, you
don't have to do it, but I feel that not only feels
a little bit more magical, I think, but I also really think that
helps with contrast, even if it's not that visible. Now, we need to draw
the little face. I cannot see anymore
the sketch that I I think I erased it
a little bit too well. So we're going to
draw the nose first. I think that perhaps using
this one would be good. So let's give it a go. Once again, when I'm trying, I really like to think of
shapes and simple lines. I try not to overcomplicate
things. You know what? I'm actually now that
I'm using white, I'm going to be using
this white pencil that I found just to create
some highlights. You can highlight
the leaves as well. And I think I need some
red for the cheeks. I'm going to use my creolas
now just because I feel that creolas or crayons are really
good for bigger surfaces, and I think definitely
this is a big surface that needs or could benefit
from the texture of a creole. And I'm using this one
that I think it's pretty similar to the carmen
red marker that I use. I'm going to add highlights. Once again, remember where the light source is coming from. Perhaps I could use
something for the base, so it doesn't look like it's
just cutting off right here. So I'm going to be using this marker and I'm going to find a pencil to create a little bit
of shadowing right here. I just really, really like what pencils do to
mark her texture, I think, just really emphasize the best of each
other, and that's it. Now, remember that
it's important for you to sign your
work every time.
7. Troubleshooting: Before we wrap up, I
would like to go over a few common things that can happen when working
with alcohol markers, especially when we're still
getting used to them. What if the color looks streaky? This usually means
the ink started dry before you finish
coloring the area. So next time, try
working a little bit faster and keeping
your pressure steady. For now, you can wait
until the ink is dry and add another
layer on top. Sometimes a second layer helps even things out and makes
the color look richer. I would also suggest to keep
in mind your hand movement. If we color with straight
lines in a large area, this will take more time than if we do it in
circular motions, which tend to be done
a little bit quicker. It could also be that your
marker is drying out. You could revive the marker
by adding a bit of alcohol, getting more ink, or maybe it's time to
get on your marker. What if the ink bleeds? This can happen if
the paper is too thin and the area
gets too saturated, or if you apply a lot of
pressure near the edges. If the bleeding is small, you can use a colored pencil, a subtle line, or extra texture to define the shape again. If you have a colorless blender, you can use it to
erase the bleeding. And if you notice your
paper bleeds a lot, try working a bit smaller using lighter pressure
around the edge. What if the shadow
looks too dark? Markers can be sometimes
a little dramatic. So if the shadow
feels too strong, you can try softening with a colorless blender or
a tiny bit of alcohol, but be careful and test it first because this can
move the pigment around. You can also balance it by adding a little bit
more depth somewhere else in the illustration so the dark area doesn't
feel too isolated. What if the sketch
lines still show? This might mean your
sketching pencil was too dark or too hard to cover with
the marker color you choose. For now, you can use details,
color pencil texture, layering, or even
a subtle outline to make those lines
feel intentional. What if the colors don't look
exactly how you expect it? If you really dislike
the color combination, you can add extra
colors for shadows, depth or small details to
keep balance the piece. And finally, remember
that marker illustrations often look a little unfinished before the
details are added. So if you're not loving
it halfway through, don't panic at your shadows, your textures, highlights, and small finishing
touches first. Sometimes the details are what
bring everything together. They feel like sprinkling a little bit of
magic on the paper.
8. See You Soon!: It. We've created a small
okohmrker illustration from sketch to final details. In this class, we
practice our techniques, and we turn them as part of a
full illustration workflow. Sketching, choosing a small color palette,
adding base colors, building simple
shadows and finishing with details and texture.
The whole process. So hopefully, you are walking away with more than a
finished meniillustration. I really hope that you're
also walking away with a repeatable process you can use again in your own workflow. To me, that's a really
important step because you're going from I know that
I can use markers, too. I know how to make
something with markers. I would love for you to upload your final mean illustration. You can also share your
sketch, your color swatches, or even a quick note about which technique you use the most, either layering, blending, pressure control,
or final details. I would really appreciate
if you could leave a review letting me know what you enjoyed the most of all the class. This helps me keep
planning classes that include elements that you
found useful or enjoyed. And if you like
to keep learning, you can use this project as a little bridge into some
of my other classes. If you enjoyed designing
this tiny character, you might like my
character design or expressive faces classes. If you want to keep improving
your color choices, you can continue with my
limited color palette class or my class about
value and color. Thank you so much for
joining me in this class. I can wait to see
what you create. Thank you. See you soon.
Karla Alcazar, Illustrator and Teller of Tiny Stories
