Coloring Cute Animal Trading Cards with Alcohol Markers

1. Introduction: Alcohol markers. They come in all kinds of sizes, shapes, brands, but they have all one thing in common. They are fun to use. In this art class, I'm going to explore some techniques on how to effectively use these alcohol markers. And I'm going to experiment also a little bit with different kind of papers to see the different kind of effects. What works? And what doesn't work? And to really have some fun with these alcohol markers, we're going to create a set of trading cards. This art class focuses mainly on how to color with alcohol markers. You don't have to draw for that. There's a little sheet included. Which you can use to copy these designs or print these designs to the paper you want to use and then create these beautiful trading cards with the techniques I'm going to show you in this art class. We're going to look at simply coloring. We're going to look at coloring with two tones. Coloring with one color and gray tones. Also coloring with free tones or a tritone coloring. Then we're going to mix up things a little bit, add some mixed media like some paints or some color pencils. You get some different kind of effects, and I'm also gonna give you my thoughts about what paper would be the best to you. And because coloring with alcohol marks is so much fun, I invite you to come along in exploring the wonderful world of alcohol markers. 2. What do you need?: Welcome to this first video. This is not really a lesson, but I'm going to walk you through the materials you need and can use for this class. Now, since we're going to color with alchol markers, we, of course, need something to color on, and I made these sketches. And you need some alcohol markers, which is pretty obviously. You will see me use these Arctic sketch markers, and I like sketch markers a lot because they have a brush nip on one side and a small nip on the other side. But if you have other kinds of markers like these, with a small nip on one side and a chisel nip, that's fine. But we're not going to use the chisel nip, then only use this fine nip. Brand doesn't really matter. You see me use these first Adi, but I might switch to a different brand. You can use picks. I got some touch markers, some very cheap twin markers, and they all work fine for this class. So let's put those away. Those are the markers. The next thing you need is to print these on paper. I printed them on just a regular piece of paper because I want to transfer them to the cards. And I'm going to use different kind of papers. And in the end, I'm going to just give you my thoughts on some of the papers you used. But you could also use just print it on a thick piece of paper, and then I would recommend something like this. This is called color copy. It's copy paper, but it's a nice and smooth paper, and it works really well with alcohol markers. I'm going to show you that. That's one I did on this paper. It's also called digital color printing, I think, paper, DCP, or just color copy, something like this. It works with both laser and ink yet. This is 250 grams, which is around 90. Lbs, I think. I'm not totally sure. 90 pounds. And you can print on that, and then you print the designs on it, and you can color on that paper right away and later cut them to size. Now, that's another thing, of course, we're going to make these cards, trading cards, and there's an international size for that, and the sizes in centimeters, it's 6.35 or 6.4 and 8.89 or 8.9 centimeters or 2.5 by 3.5 inch. And that's the size you need to cut the trading cards in, then you have a perfectly fine trading card. Now, if you're going to transfer your design in the next video, I'm going to show you how to easily do that. Let me put this little guy aside. But then you're going to need a fine liner. This is a waterproof fine liner. You make sure you have a waterproof fine liner. Otherwise, it's going to react to the alcohol ink. Then the next extra things you see here, you're going to need probably a scrap piece of paper to test some colors and see how that works. And another piece of paper, which I put under my drawing because it's gonna bleed through most likely. And then, especially if you're going to use something like a pad, it's going to go into the next page and you don't want to ruin that or on your desk. And this prevents that from happening. And as you can see here, from coloring this one, there are some colors having bleed through that happens with alcohol markers. Now, papers, you will see me use some different kind of papers. I'm going to use some sketchbooks, specially made for alcohol markers. This is a very cheap one, and this is an that's, I think, a well known brand by now. And it's great paper to work on. It's really made for alcohol markers. It's not that really fin paper you have for alcohol markers, which is about 80 grams very thin, but this is a nice thick, sturdy paper, nice to make hearts on. And something else you could use is a mixed media pad, which works for all kinds of media. And especially if you're going to do some mixed media techniques, which we will discuss later on. This might be a good paper to work on. Mixed media paper, and something else you could use is a bristol paper block, and you don't want the vellum, but the smooth real paper works great with alcohol markers. Or something called smooth multi techniques, mixed media smooth paper, which is basically pretty much the same. And this is 150 pounds. It says 250, and that is a nice size to work with or 140 pounds, I think, 300 grams, that is great, too. And the last thing that you could use is something called hot press paper. So brands call it smooth paper, and that is basically a watercolor paper, which is really nice and smooth. Don't use the cold press because that has a texture on it, and that texture will eventually destroy the nip of your marker. And you don't want to do that. You want to use smooth paper, and you see me using some hot press too later on, especially when you're going to do mixed media. I so I transferred my design to various kind of papers, but you can just use one kind of paper. Now, we're going to do some mixed media, too, but I know not everyone is into that, and I'm going to discuss the materials I'm using for the mixed media later on in that particular lesson. If you don't want to do mixed media but only want to use alcohol markers, then you can just stick to one paper you like and do them all on that. Cut them to size, and then you're done. So you don't have to go out there buying all these kinds of papers. That is just for a demonstration because I know people won't use the same kind of paper just to show that it works on various papers. But if you have markers, some paper you like, just use. Alright, that's it for this video. We're moving to the next video where I'm going to show you how to transfer the designs to another paper. 3. Ideas to transfer the Sketch: So you have decided you don't want to color on the printing paper directly, but you want to transfer, as I've done, these designs to a different kind of paper. How are you going to do that? Now, probably you've got some ideas already. The easiest way would be a LED light pad, which you just connect to the power. You put your design on it, and you can just trace it and it shows through. But not everyone has one of these. A different way to do this. The really easy way is during the day, just take one of these cards, put them on the design, and then put this against a window where the light comes through, and then the design will show through. So now let's pretend we've got some light going through. So let's pretend we have a window. Here's our window. I'm going to put that under there. It's going to be tricky. Now, if you don't want this to move, the best thing is, of course, just take some masking tape. And then center it. Well, that code doesn't go too well and just stick it somewhere, so now it won't move. So put it against the window, and now my phone has to act as the light. There you go. That should work. Now you're going to see a bright sunlight. Put it under there, and the sunlight should be shining through. And there you see it. That works. Put the phone away for a minute. So put it against the window and just start tracing it with the fine liner. But if it's not sunny or you want to do this in the evening, you can actually build your own light box, and what you're going to need is something like this, clear plastic or a plate of glass like this or just take a frame, and there's a piece of glass in it, take it out there and use that temporary for your light box. So let me demonstrate that. You want to put that piece of glass, clear plastic, whatever you have on something that raises it, I'm using these little jars. There you go. Oh, I got to make sure you can see that right. I'm going to put my piece of paper on there, and you still don't see a thing. But if I put my phone on the here or whatever light source you have, you should be able to faintly see the lines. But if I'm gonna make it dark, let's do that. Alright. Now I've put down the blinds, you can see it already better. But if I switch off my studio lights, there we go. Now it gets really dark, but you can see the design very well now, and you can trace it this way. So that's an easy, self made light box, and you can trace them on whatever paper you like. Now, if you use coloured paper, this is going to be very tricky. I wouldn't recommend using color paper with these markers anyway. Just make sure you just use some kind of white paper, and then it will shine through. And if it's around the 200 5,300 GSM, somewhere around 110 to 140 pounds, you would still be able to see it perfectly through. Alright, let me switch back my lights. And it's still going to be not as light as it was before. And now I can still see it, but probably you can't see it that well. All right, so that's an easy way to create your own light box with the light just coming through and you can trace the design. And that is an easy way to transfer the design from one paper to another one. 4. Coloring with one and two Tones: Now we're really going to start the first lesson. What do you need for this first lesson? Are these two animals, the stuffed giraffe and the stuffed bear or the teddy bear. And we're gonna, of course, color with alcohol markers. Now, what are alcohol markers? Alcohol Markers are simply a dye ink, and the vehicle which is transported in which goes into your paper is alcohol. And alcohol evaporates at a certain time, and then you're just left with the die ink in your design. Now, they could have also done water in it, and there's water. Markers, Watercolor markers. But they work a bit different. You would need water with this. With this, you don't need anything else but the marker, and it's really wet in the beginning, so yet you can really blend the colors nicely. But at some point, all the alcohol will evaporate and it's going to be dry, and then you can start layering. And I'm going to show all of that. So if these two, we're going to do two different things. We're going to just color in one tone, and we're going to color in a dual tone in two tones. So for that, we're going to need some colors. Let's start with the giraffe. And as you can see, I've zoomed in. For the giraffe, I'm using the Oh. Marker pad. And you're going to need some colors. And if you have a set of alcohol markers, then the best thing to do is just take a piece of paper. And this is, again, this is just this is the printing paper, I think. This is the printing paper, and just do some swatches. So that you know what colors you have. Now, you see that there's two tones in here. I'm going to show you that later on. Don't worry about that yet. So just do if you have a lot of markers, do all these and just do one application. I'm going to show you how to do that. Well, not on this paper, but let's just do it on my scrap piece of paper, and I said, I'm going to do something under it, and I've got some color. Now, I've got two tips. This tip does do nice fine lines. This tip actually does very fine lines, too, but also does the Car ones. Now, with alcohol markers, what you want to do if I'm going to color, you're going to color like this. So not quickly like that, but you're going to take your time and pass over the first bit you've laid down. And then take your time coloring. And then, as you can see here, it starts blending in each other and you get a nice even layered. Now, if you get streaks in the end, like you can see here, then either you got to slow down a little bit, or what you could do Al is instead of doing like this, you could actually color like this, too, and that works well, too, and pretty much does the same effect, but it takes a little bit more time. So you could do circular motions or you can do just single strokes, but overlap the previous stroke a little bit so that you get a nice blend of colors. So no rush, take your time. And as you can see here, this one is going to bleed through and get onto that paper. We're going to start a set with the giraffe. And I don't think I want to use this purple for it. I want to take a look at my color swatch I made, and I'm going to say, I like this color. That is number 32, and I somewhere have a list. I have a nice list of color names. It is 32, and that is a deep yellow. So perhaps if you have a deep yellow, that might work. And then I would use that for the giraffe for its spots. I'm going to use some darker color. I'm going to use this number 100 free, and that is potato brown. Okay, potato brown. So a bit of a mid brown that is. And his hair, I think I'm going to make his hair lighter. And what would be fun, some yellow hair? 35 of her? No, I'm gonna pick 34, and 34 is what is it? It is a yellow. Oh, brilliant. That's a yellow. These are the three colors I'm going to use for my giraffe and then the ground. I'm gonna just pick 175, and I'm gonna probably stick to all of them. 4,075 this color for the ground. And that is A. Now, let's see, lime green, it says. Alright. Well, if your lime green is really lime lime, then you may want to use a bit of a color that is a bit more muted if it's really bright,t more muted green. Alright, those are the three colors. I'm going to start with the 32. That is this one for the giraffe itself. And I said, I'm going to take my time. I'm just going oh, I need a color for this. Ah. Might do the hair color for that? Let's check. Oh, that's a good one. So this I might do a lighter color like this. Hundred and nine and 109 is called a pearl white. And I'm starting with this color. Now, coloring is basically very easy as if you have a marker, but you're going to take your time. So I'm gonna just color, and I'm going back over again so that the color can really nicely blend. Make sure I don't do his hair and go in between color spots. Now, this I'm going to do a different color. This I'm going to do a different color, of course. You don't have to press hard with these fings just lightly as fine. And as long as the alcohol is wet and not evaporated completely, then you can just go over and it will just blend right in. Well, I think you get the idea, and that's all there is to the coloring. Alright. And oh, I got to do this here, too, huh? And even if I do just a little bit, I'm going back over to get a nice blend. And as you can see, this blends really nicely. Now, what did I say? I want to do this part with this color which is kind of a faint color, but I'm okay with that. And I'm going to do the inside of the ears, the same color. Again, take my time. And I'm gonna do his horns. I think they call horns, huh? With this color, too. Well, that's Those colors. Then I said, I wanted to use this one for the spots, the hundred and three and the 34 for the hair, I'm going to go for the hair first. So that yellow for the hair. Oh, yeah, I like that. That gives a nice contrast and a little bit of hair there. And I'm going to do these with that same color too. And while I have this color, I might just do this part too. Alright. And then the last color I'm going to use is this color. For the spots, now I'm going to use that tip And there we go. That's it for this giraffe. Now, I'm going to put this aside for a moment. And I'm going to make sure I don't put it down like this somewhere because it's still going to bleed through. I'm going to put it on my scrap piece of paper. And I'm going to take the bear. And I'm actually going to use exactly the same colors for the bear, but I'm going to do something different with those colors later on. But we're going to start with the same color, and that was that 32, I think. Was a deep yellow. No, it's more like a brown, so you might want to if your deep yellow is not like this, but more like that color yellow, then take a light brown, I would say. And I'm going to do the bear's head with that. And again, I want to take my time. Coloring. I don't want to go over the ice since I have a nice white spot there. I'm going to leave that white. So there we go. I missed a little bit there. I missed a little bit there and some there. And as long as this is wet, I can perfectly fine, go over it. And there we go. Alright. That looks good. We'll leave that to dry. And with the bear, I'm going to take that 103, that darker color. That was a potato brown, set the inside of his ears. There you go. And I'm gonna swap around and I'm going to do his snout with this dark color, too. Missed the spot there. Alright. There you go. The bear has a little bow high there, and I want to give that a different color, and I'll leave it up to you. Make it red, make it purple, make it pink, make it blue, whatever color you want. If you want it to be a boy, do it blue and make it more pinkish if you wanted to be a girl. And, of course, his nose, the nose, I'm going to take not a black color, but close to black color. I'm going to take a warm gray nine, and that is close to black, but it is not completely black. There you go. And that's that part of the bear. And I'm gonna do the bow tie. What color am I gonna pick? I'm gonna make it a girl. So I have a pinkish color here. What is that? That is a nice bright pink color. That is pale purple. Well, it seems very bright for a pale purple. And I'm gonna colour. That in I missed a little bit there. And there you go. I'm going to leave this to dry. And I'm going back to the giraffe. But I think you get the idea of the giraffe. So what I'm gonna do, I'm going to color it, but speed this part a little bit. Speed this part. Speed up this part a little bit so that you don't have to wait for me. So basically, I'm going to exactly do the same as here. And what I'm going to do is I'm going to do his feet, the bottom, the sole of his feet. I'm going to give it this light color. I might do it that right away. And the go. And his hoofs, you would give a very dark color, but it might be the same as the spots or an even totally different color. Let's see. I'm picking a 92 and a 92 is. Let me see where is that. That is chocolate. I'm gonna do this part with it. That's a very dark brown. And if all is well, the little black line shoot steal. Show frou. There you go. Alright. So I'm introducing a very dark brown for his hoofs, and the rest, I'm going to just use the same colour as the head, and I'm going to speed this pit up. Well, that's a giraffe. You probably did see me pick up a wrong marker. That was the 32. That was a darker color than I intended to be. But if you're quick enough and it's still wet, you can still blend away a little bit of that dark color, but you cannot return. And probably you've noticed that with these markers, you want to go from light to dark. I was going to explain that in the next lesson, but let's show it right away. So this is the darker color, and this is the lighter color. Now, if I go over this with the light color, it lightens a little bit, but I'm never going to get this color back. What is way better to do is go from light to dark. Then the dark really shows up, and the light and the dark are separated from each other and don't blend like this one. So if I have a dark spot like I had the Giraffe, dark there, and I'm going to add this light color, as you can see, I'm never going to get my original light color back again. So I got to pay attention to that as much as possible, but mistakes can happen. And it's still lighter than the body is with the same color. So I'm okay. That's the giraffe. Now I'm going to going back to this bear, which I've half done. And what we're gonna do now is we did one tone of color on this one, and I'm going to leave this like this, just one tone of color. But with the bear, what I want to do is I want to go back in with the same color I already used. So that's why we got to remember the colors. And that is then a 32, a deep yellow. I did his face with that. Now I got to decide where do I want my light to come from? I think I want it from this side. So that means that this side is lighter than this side, and I want to darken this side. Now, for this to work, it has to be really dry, and I'm going to show you this is my 32 right here. This is the first layer. Then I left it to dry really long enough. And then I did a second layer with exactly the same color over it, but not all the way. And as you can see, you can create two tones. Now, if you have really good markers, you might actually get three tones with one marker, but the third one is a tricky one, but for some markers, it works, but we're going to do three tones differently. So two tones, my light comes from this, so that means that this side of the bear, I want definitely. A bit darker. And I'm just gonna go in a little bit with this one to create that darker shadow part. I think I want it here, too. A little bit like that. And now here, I barely touched it just a little bit so that it can blend in with the previous one, as you can see, If I press really hard, I'm going to get a lot of ink down, and then it takes a while for it to blend in. If I press just a little bit, it's still going to blend in slightly. I want some darker here, too, and at the edge, I'm going to draw very, very lightly. And now you can see that with this one color, the deep yellow, I have two tones now. I want to do it on his snow two. And which color did I have for that? That was, Oh, God, pick the right one, this one, the hundred and three. That should be the right one. If I'm not sure. What I could do is test that here, that's the right color. And I'm going to do the same. This part stays light and this part here. I'm going to make darker to create an interesting two tones. There you go. I go very light on the edge and a bit stronger away from the shadow. There you go. Now I'm going to leave this to dry. And we're gonna give it a try later on to see if I can get more tones in it. But before I do that, I'll just let it dry. I'm going to do the bow tie the same. And There you go. I'm gonna do it like that. So a little bit here, I'm going to leave light a little bit here, a little bit there. Very little bit there. And there I go. There I have two tones on it. Alright, I'm going to do exactly the same with the bear. I'm gonna finish it. Got to pick that right color, this one. And I'm gonna color the complete bear. These I probably do very dark. Yeah, I'm gonna do that right away with that that What was it? That chocolate? Yeah, that's this chocolate. Probably. I'm gonna leave that one tone, but maybe I'm gonna do a shadow line. We'll see. Alright, and that's it. Leave that to dry. And now I'm going to do the rest, and I'm gonna obviously speed that up again, too. I'm gonna leave the bear to dry, and that's the nice thing about making a video. I can get back in a minute. And then I'm gonna go over it with the other darker colors and create some shade. A and you can see the different here. This is just one color, and on a tiny, this is all quite small. That works very well, but if you have larger areas like this and the head you could do too, you could go back now in and create several tones here, too, but I think I'm going to leave this like that so you can see, clearly, so you can compare the two. Well, when it's dry, I'll be back and finish this one. Well, I think it's dry. I'm going to take that number 103, which was a potato brown. And I want to see if I can get slightly darker. Around that part. I'm not happy with how dark that is. So, there you go. Leave that to dry. Now, I'm going to take that chocolate. And around here, I'm going to create some shadow here too. There you go. You could do it on the other side. Now it's more like there's a hole in it. If you would do it on this side, it's more like as if this is on top of it. Like we've done here, you get that free D, a little bit of a free D effect right here. We're going to go back to that original deep yellow it was, and I'm going to do a little bit here, too, too just simply. There you go. And a little bit there to enhance the three dimensional as if it has more shape and form than it really does. And the whole thing about coloring is you just bring in color, not only color, but you bring in shape and form. And the illusion of that this bear now doesn't have a flat face like this one, but as if the light is playing a part, and you can see that it has a clear shape. Let's see. This I would have darker there that casting the shadow, a little bit there and the arm casting a little bit of a shadow. Here, too. And I want to do that right with this leg, too. I think I'm gonna put just a stroke. There, I'm happy I'm okay with that. There you go. Oh, I forgot to do the ground. And let's see the arm, unless you can see, by the way, we're managing to get pretty much free tons out of this a little bit, but not really strong. And let's see. I want to do the arm under here, too, and the back of this. And a little bit here. And I want to do the same right here. Create the illusion of depth. And I'm, I want to do that here, too. There you go. And I think I'm okay with this. Yeah, a little bit more there. It is showing up, so that's good. Perhaps slightly. A little bit there, too. I think that is good. Seems like this part might not have been dry enough. Where's my ground? And I forgot that one. And for the grounds, I'm okay. I'm going to depend on the shadow I've already added beforehand with my fine liner. But for the ground, you could of course, do weigh two and then add another layer of this too. All right. And I think I'm okay with that. So there's the first two. One, simply colored. In one tone and the second one with exactly the same colors, go over it to create the illusion of a second tone and create that illusion of depth and shape with it. And as you can see on the head, that works really well. And I could do probably a fur tone here too once it's dry, but I'm going to leave this like that, and we'll call this lesson done and move on to the next one. Um, 5. Coloring with Color and grey Tones: Welcome to the next lesson. We're going to work with color, and we're going to work with gray tones, and we're going to mix the gray with the color. We're using the grays for the shadows and, of course, the color for the color. Bit of a different approach than the previous lesson. And I'm not going to use all these colors. I've just got them here so that I can determine which one goes well with which one. Now, I've got the dog here, and the dog needs to go for a moment. And I want my test sheet. For the dog, I'm thinking of using as a main color, a lighter color, and that is this color that is called muted brown, and this is a different kind of alcohol marker. And as you can see, I've got a number of brands here, and we're just going to mix and match them all because they're all alcohol markers. And that will give me this muted brown, light color. And I think that is a good color for the dog overall. Now, for the patches, I want a darker color, and I got this burnt orange, it's called. I think that color matches really nicely. And for the pores, I've got two colors. I've got a dark yellow and a sand color. I'm not sure which one I want to use. So this is that dark yellow. That might be a bit too yellow, and this is the sand color. And I'm going to put that there. And that one I like a lot better. So I'm going to do the sand. So now I've got a sand color, a burnt orange, and a muted brown. For the color, I found two metallic ones. If I can open them. No, that's the wrong side. I don't want to use the chisel. Let's see if they still work. Oh, yes, they do work. I'm not sure if you can see that, but that is metallic, for sure. For the color and then a gold with that. And that should work nicely for the color. Yes. The next thing, what I want to determine is which of the gray tones I do want to use. I want a gray tone, which is darker than the tones I'm using, but not too dark so that it overpowers it. There's a few, and I'm thinking I'm going to use this one let's see that one. Put that next to. That would be a good color for that one. So I'm going to put that aside. And let's see what do we have here? This is darker. This one, let's try this one. That would pretty much work. Or let's that one works better for that. And then the really dark ones probably working better as a shadow for this. Yes, there we go. I've got the shadow. So I'm using a warm gray. I'm using a warm gray three for the lighter shadows, a warm gray five for the mid shadows, and a warm gray seven for darker shadows, and I'm going to combine these, but I'm going to show you how to work with that. Alright, let's bring back the dark. There's the dark. What I'm going to do first with the dog, I'm going to take that color I wanted that muted brown, not the middle brown, muted brown, and I'm going to do the dog head with that. So these color different. Then the one with a brush, what just taking a moment to adjust. And I'm taking this color right away with it, too. Oh, and I need something for his nose, but we'll determine that later on. The paper I'm now using is the Bristol Paper. So I'm switched papers from the marker pad to the Bristol Paper. And as you can see, it flows pretty nicely on here, a bit too nice, as you can see there. Oh, I need this bit too. Alright. There you go. That's the first bit. Making it a little bit more moist so that I can work with it a bit more. I'm not going to do this bit twice. Now, what I'm going to say is I'm going to do my son from this side, so this side gets the darker side, and this is the darkest color. So I'm going to take that five and that seven, and I'm going to create some shadow tones with that. I'm going to start with the five the gray tone five, so the one in the middle. And I'm going to say where my first shadow is. I'm going to lay that in, and I want some shadow there, and I want it here, and I definitely want it there. There you go. I think I want a little bit here too and there. And that's enough shadow part. But what I'm going to do right away is I'm going to take the darker one, and I'm going to lay in some of the darker shadows. Where I want them to be. And there you go. Those are the really dark parts. The next thing, I'm going back to my muted brown. And I'm going to color this again and I'm going to move into that shadow and into the dark shadow, I'm making a little bit of circular motions, and I'm going to blend my shadows in, and I'm starting on purpose in the color I already have so that I don't drag the dark color into my lighter color. Same here. And there we go, and I'm going to do the same right there. And blend these colors in, and there you go. And now, as you can see, you get a nice blend here of that gray as a shadow moving into the head. But I'm not getting all these layers because I'm using it quite wet. And this on purpose, I'm leaving lighter like that. Let's do the next bit, which would be the ears. But for the ears, I might actually go to the yellow. The yellow, I put aside. I said, It's too yellow. Why not? I'm going to use that Yellow for the ears to create some nice contrast here. There you go. Oh, look at that. That is that what was it? Dark yellow. This color is a lot lighter. So instead of using that very dark one, the warm gray seven, putting that aside, I'm going to use the warm gray free and the warm gray five to determine my shadow. I'm starting with the warm gray free. As you can see that does a little bit and around here where the head is. I'm going to that warm gray five now to do the edges, and I think This is dark enough. Now, one thing you probably notice with this paper is that it bleeds a lot more than the other papers. It's a different kind of paper. And because I'm working pretty wet, that's what you get. So I should have stayed away from the edge because this paper is definitely bleeding quite a lot. All right. That is the ear. And there's the other ear part, I'm going to go back to that. Three, add some shadow right there. Not touching that part. And then the five on the edge and a little bit. On the bottom, I want some shadow. And I'm going to do this. Now, you probably already noticed one thing that my shadow here probably isn't dark enough, so I might try the darker one, the seven, see if I can get a bit more. That's a bit better. But now I'm running into more problems because my color is gonna bleed a lot more. The patches. Let's see. If I'm gonna go for these patches really dark, like I intended to do with this color, then this dog gets really dark. I think I'm going to take that scan color instead. Where is it here and use that for my patches. Yes, and I'm going to use that darker color for the paws. No, that I can still blend in a little bit. It's same here. I can blend in, but then it's gonna bleed. Probably too. The patch, I'm going to take that warm gray free, and do the edge of the patch and the bottom just a little bit, but only one color here. And then I'm going to start in the patch color, and I'm going to blend this color in and I leave the color to do its fing. I'm not gonna touch that. This will slowly bleed into the rest, since this paper is bleeding, as you can see, quite a lot. Let's take that very dark color. The burnt orange, it says, and I'm going to do carefully the ports with that. I'm going to do the end of his tail with this color as well, and I'm going to let this dry, there we go. That's at least this part. Let's see. Let's go for the body. I need this one again. There you go. I'm leaving this one. And we're going to do the same thing again with the warm brown five, do my first shadow layer. I want some shadow there. I definitely want some shadow on this side, a little bit on the paw here. Just a little bit of shadow there and on this paw on the bottom. And under the color and under there. So. And away from the light. I'm going to do my shadow like that. I'm going to get that very dark color, which I'm going to put on there, and I'm not going to blend this part. I'm going to leave it like this. This I want darker. I want a line here, a little bit there on the bottom here. Very little there. I don't think I want anything dark there. And now I'm going back to this color, my brown I'm going to blend in. Start there. Blend that one in. I'm moving from the brown color into the grays, and I'm blending those in. And here I'm going to do it too. And I'm gonna leave it like that except for blend that in a little bit nicer. Okay, and let the alcohol do his thing and leave it like that. We're going to continue with this color, and that was the scan color. Not the dark yellow. That was his ears. The scent the scan is. There it is. Yes. And here is some sand color, too. Now, probably your set has one of these two. That is a blender, and this one is pretty dirty, so I'm going to take a different blender. There you go. Here's a new one. And what we're going to do now, this one is too dark, so I'm going to use this blender to actually not blend but lift some color. You see that it lifts that color off now. And what we're going to do here, I'm going to blend just a little bit. Keep in mind, it's blending, but it's also taking off some of this color, so it becomes lighter as you can see. So if you want some highlights, this is a great color to use, and I'm going to do the same here. Make this a little bit lighter. And where it has bled a lot, let's see. I can take perhaps a little bit away. So a blender isn't really a blender. Well, it does blend, as you can see here. But it also lifts your color, and I'm letting it work now so that you get the color away, and now I'm going to go over with the original color if I can find it. And now it should blends in quite nicely. I'm going to leave it like that. And up here, I need that scent color back that is this one. There you go. So, now this starts to blend really nice. So it lifts the color, but you can bring it back the color with your brush and bring back the color. Again, brush, your color. You marker. These are not Boya. They have brushes. Wait, we need some color there, too. Alright. And that's the dog. Let's see. Do I want some I want some there, too. Do I want some? Yes, I do want a little bit, but only one color. I'm going to take that one brown five do the patches just a little bit. There you go. That's enough, and now I'm going to take my sand color again. Start at the sand color and now blend it in with some circular motions, and there you go. And there's my little dog. I only need to do those. I think I might do the pole with that dark yellow kin And I'm taking the middle one, the brown five, the warm gray, not the brown. The warm gray five. Add a little bit of shadow on the bottom. And let's blend that in a little bit. Well, it's going to blend by itself. And there we go. And I'm doing the bottom of the paws with the same color too. I'm moving a little bit over that or dark brown because it's not going to do much to the dark brown anyway. There you go. I missed just a little spotted there. And obviously, I missed a part of the tail. I'm going to do that with the sand color. Now, I've got these two. Colors, the gold. I'm going to do the darkest color first, and that is the blue. A metallic blue color. I'm not going to do any gray in this color because it's a metallic color. I don't think you can see it on the camera. And I'm gonna let that dry. I'm going to do its nose. I don't want the black. This is the pure black. I want the darkest gray I do have for the nose. I got that lime green, which in my case, doesn't really look like lime at all. More like a sage color than a green, this is although than a light sage color. And the last bit. And there's a dog. Now, as you can see, you can just mix and match all kinds of brands like I have done. That is not a problem at all. The one thing that you probably right away notice the paper that was bleeding a lot, but it also depended on which brand I used and which color. And this color, this dark yellow from the Where is it? The dark yellow, this one. That was very, very probably a lot of alcohol in it, and it bled a lot. So what I would do with this is I would either create a background or just redo it again and just taking into account that that one color is bleeding a lot, but I could do a background on it, a background color and see if that works. I'm going to use a sky blue for that one and move this bit aside. It's a very nice light color and blend my mistakes in a little bit with this blue collar. Tomorrow or less, hide it. That's what I'm actually doing. I'm correcting my mistake color. I don't think I want to go all the way to the edge. So I'm blending this in as much as possible and letting that color work. G to do the same here, too. I'm going to start at the bottom though and work my way up. Now, I went over this a little bit, so I need that scan color back. Blend that in a little bit. There we go. And I'm going to find that blender. Lift some of this cour. And I'm gonna lift some of this coa around here where I made my mistake, lighten that up. Lighten that up and I'm not going to light it up. I'm going to lighten it a little bit. And now I'm gonna get my blue back while it's still wet. And blend in. Some more of my blue. And there we have a dog with a background. Take the blender. 'Cause I think my blue is too dark. And that's how I would solve this issue. Right. And that's it. Now the dog is pretty much ready. We're leaving it to dry, and as you can see, the papers now really, really wet. And when it's dry, should straighten again nicely. And that's the lesson on the two tones of gray with the one tone of colour. 6. Coloring with Tri-tones: In the previous lessons, we covered coloring colorings with two tones and doing gray tone, dual gray tone, and a single color. This one is actually the same too, but on different paper. In this lesson, we're going to go full color. That's about time that we do that. For that, I'm going to use this paper. Claire Fontaine Paint on mixed media paper that is smooth and cold. The Lisa, it's really nice and smooth. And I've already done my subject, the parrots, and we're going to use colors for that. So let me move this out of the way. Now, first, I need to, of course, establish some colors and determine what colors. So this I can ignore what I'm going to do Let's get the parrot on top of it. That's the best. I want to do mainly some green colors, but also some blue and some red yellows in it. So I'm going to start with the greens. Now, I don't have a lot of choice in the greens. If you have more choice, then, well, pick the colors you like. You need free colors. You need a light tone. For my light color in the green, I'm going to use this 166, which is, I think, a nice color. Yeah, a nice color. This one. For my mid color, I'm going to use that 124, which is some kind of spring green probably Fluorescent green. Yeah, well, that's nice for a parrot. And for my dark green, I've got some options. I think I want to go for this one, the 54 or the 55. I'm going to check. Now, I'm thinking about the 54, and that is A Vidian, I think. Yes, that's the Van. So these are the three colors I'm using this one, this one, and this one. Instead of the nice, which go to it. The yellow, you could use a very light green if you have one. That's for the greens, which will be the main thing of the parrot. For the blues. I'm going to use probably just one blue since it's very small. No, I'm using two blues. Let's go for a nice blue. These two would work nice a 64 and a 66, and that would be 64 is an Indian blue in my selection and a baby blue. These two blues, I'm going to use. So the main triton coloring will be done with these three colors. And if you have a larger subject, then you could do it everywhere. And let's see. And for some of the other parts, I want some red, some middle red, maybe even some orange. Let's see. This one is good. 14 is a nice red for a parrot. 14, where are you? That's a familion. And I'm gonna do one of these yellows. This yellow, probably 35 or this yellow, the very bright one, that is a lemon yellow or 45, which is a canary yellow. Well, we have to go with the canary yellow, don't we? Canary yellow for that one. And I think I want a darker red, too. Let's see. We can go with that one. Is that a lot darker? This one is nice. I'm going with the 11th probably a red. What is it? A carmine color. So I'm using that. Okay, so the blues, I'm only going to use two. The greens, I'm going to use free colors and the yellow and the red. So I'm using a yellow as the light, but if you want to use an orange, you could do that, too, but my familion is close to the orange, leaning to the orange. Well, that's the colors I'm going to pick. And of course, the branch that it's sitting on, we're going to just do pick whatever brown. I'm going to pick. M is 96. Do we do that? That's a mahoni color. That is great. And I need a dark one. Then I'm going to use this one, the 92. This is too dark, I think, 102 is nice, too. That is a raw, but let's do that one. Then we've got the different colors. Since the branch is very small, I'm not going to do three colors either. Going to start with the ground. And the ground is that same green I've been using and now they're all rolling everywhere. Let's see. That is that 175, which was a lime green in my selection, but more towards a sage green. I want to start with that one at the bottom. That is definitely not a lime green. I don't know about these color names. They should put probably pigment numbers as they do with paints. Then you know how to compare them, but they don't do that with marks. Alright, that's enough of that color. Well, that was quick and easy. I want to start at the top here. I'm going to do this all green. And then using those free tones of greens, this is more the yellows and the reds I've picked out. And I might pick a light. No, I'm going to do something different. I'll show you what I'm going to do with that. And the beak, of course, needs a color, but that's for later on, probably one of these gray and the legs do, but that's later on. Let's start with this one. So I'm going to get those greens, and I'm going to start with the lightest one. So what I'm going to do with this as with the gray. This will be my lightest color. And see that leans definitely towards the green. This is my lightest color. And let's see if this bird, I'm going to go with the light from this side again. So here, the light, so this side is the lightest, this side is the darker and some in between color. I want to do one more layer for this. There you go. Put that aside. Now I'm going to that middle color, and that is 100 and 624, which is a fluorescent green. And I'm going to determine that this part stays the lightest, definitely. Around here. I want some darker here and definitely the back, so I'm going to colour in the back with this color. Not touching the top. Going in there. So, there you go. Now I have two choices. I'm going to show you the difference. I could go back in with this light color and blend it all in. Let me do that. And now pick the very dark color, which is the what is it? The 54, the Fridian. And around there, I want some really dark color. And very little bit. Right there. That's all the dark I want. And I go back with this slightest color. And as you can see, that blends in and lightens this color a little bit. And on purpose, not touching that anymore. There you go. Let the alcohol marker do its thing and let it blend. That's one way we could do this. The other way is, I'm going to do that on this wing. You start with that lightest color again. There we go. Then go to that middle color. And I want that around there. Next thing, go to the dark color, which seems to have magically disappeared. There is. And I'm going to do some dark color around there, but I also want a little bit of dark color there. There you go. And now take that lightest color. Make sure I got the right one, that is this one, and from the top, away from the dark, from the lightest part, start blending in all these colors. And that's the other way, you can do it. There is another way. Let's see. Do we have enough room to demonstrate that, yes, we do. We can do this leg too. Again, we're starting with the lightest color. So the difference is now that what we've done is here, do the lightest color, mid color, go back with the lightest color, do the dark color, and then go back with the lightest color. Here we did the lightest color, the mid tone, and the dark tone, and then blend it all in, starting from the lightest point, working towards the dark and blend all these colors in. There is another way to do this. We're going to go with the lightest color. Okay. Next, we're going to take that mid color. I don't want to touch that side. Go back in with the lightest color from the top from where it is light, blended in. They go and now take the darkest color, which I want around there. Pick the mid color, go over there. But not where the lightest is. There you go and take that lightest color one more time, but only blend in the mid color and the lightest color and leave it out to dry. I think probably you can see a difference in colors that are slightly different. The way you blend them that determines slightly different how they blend. It's just what do you like the best? What do you want to go in with the light color? Then do your. Mid color, go back with the light color, do your dark color and your light color, or just do the light color, do the mid and dark color and go back with the light color or do the light color, the mid color, go back with the light color, then go the dark color, do the mid color, and then finally the lightest color. And that's just three different way of doing this. And as you can see, with this one probably is the nicest because you get these nicer blends. But if you're not happy, let's say, I'm not happy here with the mid green. I want it a bit stronger, so I pick my midgreen and just simply. I can always go back and do the same here. Mix that in a little bit. A o, and leave that to blend. So you can always go back and strengthen a color that you really don't like. Alright, now, back here, we need some dark color, too. I'm going to do the mid color right away. And I'm going to blend in a little bit of dark color at the back and then blend that in with the rest. And there you go. We might do that one with a mid color and a dark color. No blending. And here, of course, we need some colors too. We're going to do that with the lightest color here. And I'm not going to use the dark color here because I don't want this too dark. But I might use a little bit of that mid color. I'm going to leave it like that. The next. This part, this part. Here I want only some really yellow and some green colors. So let's do that. This is what is it the canary yellow I have. And instead of that nice color, I'm now going to use that canary color canary yellow for my first layer, and see you get a nice contrast with the other colors. And I'm going back for that mid green. Let's see. I want that to go around the bottom there. I wanted to go here. And I definitely want that mid color there. This a little bit more and no more of that. And I want a little bit of that dark green just around the edge and a little bit at the bottom. And I might do a little bit of shadow. Under those hairs hairs, no feathers, doesn't have hairs. And of course, I do want a dark color under its head. And I'm going back with that middle color first. That's the wrong one. I want to blend in this one. But I'm not going to all the edge of the yellow. I'm going to leave that yellow as it is. All right. And the rest, I'm going to pick that yellow and blend in some of that dark color. And some of this, but I'm not touching this side, which I did with the yellow. I'm going to leave that really light color. But this yellow will really brighten the green nicely. Well, that's the main part of my parrot. There we go. Now, on here, I want some blue. And so on this side, too, and here I want some red and yellow. Let's go for the blue first. I want the lighter blue. That is this one. That should be the baby blue. And in this one, I actually don't mind if the colors have bleeded slightly. That gives a nice effect. So that's the light blue. And now I'm going with my second blue, which is a little bit darker. And I don't want this too much. I want that under here around that edge and that back feather. And that's all I want. I don't want the furred color in this one. Definitely not since I don't have much room to work with. There you go. And I'm leaving on purpose, some of these spots very light. Alright, that's all I'm going to do with there. Blue. Now I'm picking that yellow back up again. I actually want to make some red oranges. So when I colour everything I want yellow. That's it. I'm gonna pick that middle, that familiar red. And I want it there, too, and I'm going to leave it like this. I want to see if I can actually create more of an orange color with this and I should be able if I do. Enough Enough yellow on top of it, not red. See, I'm getting now some nice orange colors. There you go. I do like that. And now I'm going to get that very dark red, and I'm going to do that. There. And a little bit there. And I'm going back with my yellow. Tone this down just a little bit. I'm leaving that really dark. Alright. That's it. And with that middle yellow, I just want one line there, one line in the back, and I'm happy with that. The face. Actually, I think I might want to do a different one. I'm gonna pick that Nice. I'm gonna pick the yellow, and I'm going to pick the red. For that, I'm starting with the nice color that greenish yellow. And coloring this in as my lightest color. Next thing I'm going to do is pick that yellow. Go over it. I think I do want my yellow there. Pick that nice again. Blend it in a little bit, and this is going to blend into one color most likely and then get that red. The middle red, the familiar, not the dark red. And I'm going to put some red right there, I think. I'm okay with that. And I'm going to pick that yellow again. This is the yellow. Yeah, that is the lemon yellow and blend in. The edge. I'm not going to blend all the way. I want to keep some of that nice red only blend in. The edge. There you go. And I think that is nicely my bird, but one thing I want to change is down here. I'm not sure if it cut out. So, in case the camera stopped working, what I've done here on these feathers here, I want some Middle red, the familiar red on there. And I think I'm going to leave it like this. Now, we only need the beak and the branch and the leg. Now, those I'm going to do with gray. I'm gonna pick two warm grays or should I pick a cold No, I really like the warm don't like the cold grays here. I'm going to show. So these are my color choices. These are the warm grays. These are the cold grays and I just think these are too harsh. I like this warmer color. This is my beak. Gonna be my beak color, my warm gray seven. But I'm going to start with a nice light color under that, the warm gray one. And I might do a warm gray. Two, so those are going to be my three colors for the beak. Then I'm going to start with the warm gray one, the lightest cause there pretty much on all parts of the beak. That is my lightest color. I'm gonna leave that open. The next one. I'm going to take my middle color. And I definitely want this part to be a middle color. I want it here. I'm not going to do that I'm going to do really dark. I want it here. And now I did this myself. I didn't do that right. I went outside of the line, and I'm going to go with a dark color and I'm going to do it like this. Now I'm going to get my lightest warm gray one and I'm going to blend this in a little bit and blend that in a little bit, but I want some light color to stay there. I'm just going to blend in. I like that. That looks nice. The legs, the same starting with this side. Now I'm not moving right away to this side because I want to make sure this stays wet. And I'm going to go in with the warm gray seven right away for this, some shadow here. And around the edge, just a little bit. There you go. So on the top under the feathers and around the sides away from the light, I'm now picking up that warm gray one again, and I'm just simply gonna mix these colors in. There you go. And I'm going to do the same right away here, too. There we go. And now I need that warm gray seven. Bottom around that side and go in with the warm gray. And there we go. Good. I like that. I only want to correct a little bit there. I'm going to get that yellow. Should work. Okay. And I'm gonna leave that to do it thing. So now I'm corrected my shadow a little bit. Now, in the beak, I want the dark one. But I'm picking a darker one, warm gray nine. Let me carefully do that. With the nip and only do that. The only thing I've got left is the branch. Two colors, I had 102? Where is it? Raw umber and a mahoni which is 96 and a raw umber. These two colors. The main color will be this mahoni color. I'm gonna take that 102. Let's see. That is even darker. I think this might go too dark. So I'm gonna do some shadow shadow there. And some shadow there. I think this mahoni might turn out slightly too dark. So I'm gonna pick a lighter color. I have 100 Walnut, this is a lighter brown. Me to the green side. Putting that over there, and now I'm going to really light the lightest or do I pick a dark yellow? I'm going to pick a dark yellow 32, and that is A. What's that called in my selection, a deep yellow. Yes, I'm going to use that. I'm going to pull these colors down together with this color. Same there. I'm dragging the dark colors a little bit into this light color, we're not going to be bothered by that part. Oh, I'm not bothered by. I'm not gonna bother with that part. That part I'm leaving like that. That will be my branch, I think. That looks good. And there's the parrot with a tritone with three tones of color done in different ways. And you can really see that here, the color scheme is slightly different than what it is here. And this is, again, a slightly different color scheme. And by mixing different color choosing lighter and darker colors in a different way, you get some nice lens, and the parrot looks great. And that also right away, concludes this lesson. So combining triads of colors. So if you could combine free reds, but also like I've done, three reds and a yellow to create some tones. And for the greens, I picked a really light one, a mid one, and a very dark one and combined that now, because I didn't have much room, I only used two blues. But for the reds, I used three colors, but I tried to create a little bit of an orange blend here and some darker red and very dark red down there. And here I used the ie, the greenish color, and the yellow color, and also mid red color and just blended at all. And as you can see, I get various colors there by mixing in the certain colors. And that's it for this lesson. Then there's only one lesson left, and that is a mixed media Project. 7. Combining Markers with other Media: Well, welcome to the next lesson. I'm going to work on this unicorn, but I'm going to do things a bit different. Now, if you're not interested in mixed media and you only want to use your marks, then you could just color this differently, but I'm going to use some mixed media for this. And I've done this on a bit of a different paper, too, on smooth watercolor paper, and that is basically hot press Watercolor Paper. I'm very curious to the results. I picked some colors, and what I want to do first is colour this with some marcus and then use some metallic paints after that to paint it. Oh, I can't see that. And you could just use a simple set like this, too, a cheap set with a lot of colors. But I want to keep my card for a little bit more for as long as possible, so I'm using some paints which I know will not fade too quickly. And with very cheap paints, I never know how quick they will or won't fade. I'm going to use some brush and, of course, some water for this. But if you don't want to paint, then you could use some colored pencils, too. That's totally up to you what you want to mix all of this with. Some colors I'm going to use. A couple of colors for the ground, we're going to use that same green 175, which was a lime green, looking more like a sage. I'm going to do some blush color that is color 196, which is pale pink light. And I got some different colors. One for the hair, which is 34, and that is yellow. Liquor regular yellow 169, which is, I'm not sure. Let's check. Putty potty 142, that is pale cream. And that's the colors I'm going to use to colour this. And then once I've colored it, I'm going back in with back in. I'm going with the Watercolor Paint. So I'm first gonna color this, but before I do that is I'm going to put it on my scrap piece of paper so that it won't bleed through, and I'm going to speed this part up. And that's it. The only thing I added is number 96 mahoni for the belly and for the horn because I want to use some golds and some lighter colors on here, and I know that if I put a too light color on the horse itself, the unicorn itself, then those lighter colours might not show up well. So I'm hoping that by doing this, some darker color under, they might show up very well. Now, as you can see these paper colours really nice. I look at the back, but you can see how much this is watercolor paper. So it just goes through right away. So it will drain a little bit more of the alcohol markers in it, but the result is very nice. I'm going to use the back of the I don't have a swatch for this. I'm just going to use the back of this box as my guide on which colors to pick. And here is my paint set. And I'll probably have to move this a bit along long. Yes, now you can see it both. And I'm probably going to use pure colors for this. And I've got a cup of water, which I'm going to put to the side, and I've got a small brush since it's not so large. And what you could do also, of course, if you want, you can put shading on here with the markers. You can shade it all the way, but I'm going to do this just a quick and easy way. I might just use some of these colors rather for shading. Since I got some interesting color, I've got some graphite here, which is this color, and I can use that pretty much for some light shading. Got to activate it. That should be it. And as you can see, that works really nice for some shading. I'm not even sure if that graphite is a color that is sparkly or not, glittery or not? I don't know. W? I want this to be a bit more dark. I got to pick up some more paint to get that dark. And I want to blend this slightly. More, you go. And this is just quick and easy watercolor. Just pick up the colour from the pen itself and paint. And we should be some more color. I'm not going to do that one. I'm gonna do a little bit of color on there. There you go. Pick up some more on here. Do a little bit of shading there. And as you can see, that result is rather nice. Oh, let's do some on the belly, too. This is also pretty much darker. Ah, that works very nice. Do some in the hair. Just a little bit of dark spots here and there. And as you can see, the alcohol marker won't move. That is pretty much waterproof. Nothing will happen to that. Let's do the tale a little bit too. All right. And that is Basically, my first layer of watercolor paint, nice and simple, might do some of this querfied stuff. A little bit on the hair, too. I want slightly more back here and a little bit there. And there you go. Now, that improves the little unicorn quite a lot already. Now, there's some nice shading on it. Now, let's see. I don't think. This paint is glittering or doing anything. The next thing, I'm going to do that horn. And I said I want to do a light color on the horn, but I want to contrast with the dark, let's see if my reasoning is correct. I'm going to start with a pale gold. See, and that comes out. Really nice. Let's see. Can you see that? I can see that shine and glitter. I'm not sure if the camera picks that up. Clean my brush. Well, and now I'm going to pick up some of that. Gold gold, and I want that on the back here. Um, and there goes my horn. Now, let's see. Where do I want some more? I definitely want some yellow. It's called sunset here in the hair. It might be very interesting. Not everywhere, but some of these spots to just make it a bit more interesting. Let's do this a bit better. There you go. And, of course, then I need to do that. Some parts of the tail, too. And check. I don't think the camera picks it up, but I can definitely see it spark. But even if it doesn't spark, the combination looks really nice. The belly, I'm going to do silver. Probably should have taken a larger brush for this. And I'm just gonna put that over here. I want. The paint to flow a bit nicer. There you go. Just add a layer of silver around the edge, I do want it a bit stronger here. So, simple watercolor, not too complicated, just picking up my paints. Adding some details here and there. Bit of nuances to make it more interesting. Okay, I'm gonna let that dry and once this dry spray, this gets a lot stronger. I can see it there already. This might then become slightly too strong. There you go. Alright. What do I have more for a nice color? I'm going to use some pink. To let this spark to. There you go. I'm leaving it like that and let it dry. Now I want to put some red details just to draw some attention to some of the parts. There you go. And that's not red. Since the water color is a little bit transparent, the colors under it will still come through nicely. That's a bit too wet probably. But shouldn't be a huge issue. Once it dries, I can just put a layer over it again with my watercolor. And let's do soles, too. Or in this case, hoofs, I would say. Need a bit more water. All right. Well, I want a bit more in the shadow part here too. And this already has moved to that part, so I'm going to leave it. That like that only here. Just a little bit. And I think I'm pretty happy once this dries, that should look quite nice. I don't think I'm going to do the body. I'm going to leave it like that. Alright, and my unicorn is done. It's dry, too. I'm not sure if it picks up some of that metallic, the glitter and the sheen. I think it does a little bit, so you can see it in the light. When the light hits it, it looks actually quite nice with all the little nuances. So that's the mixed media project on the hot press paper using the alcohol marks as a base and using some paint on top of it for some details here. Just to make it look nice and also doing the shadow. But you could do that, of course, with your alcohol markers, too. I could have used colored pencils or something else, and I'm going to do that. Actually in the project, I'm going to do another one on a mixed media paper that is hot press too, and use colored pencils on that one. So pick whatever you like for the mixed media one, and if you don't want to do the mixed media part that all, then just color it the way you want. 8. The Project - Now it is your turn!: Now, in the lessons, I've shown you how to create several of these trading cards with alcohol markers and a little bit of mixed media, but we haven't done all of them. There's still a cat. There's the bunny. There's the elephant. And we've got the mouse left. And that will be your project to pick one of these or all of them left and create something nice with them. And you can do, as I've done with this bunny, just use all the techniques in the lessons, or you can do, as I've done with this elephant, go a little bit further and create something with mixed media, which I used the markers, and I use some colored pencils. And first, I colored this all with some very light markers, the gray markers, and I went over that with the colored pencils. And in the end, I even went over it with some marker again for some of them. Let me put this away again. So that will be your project. Either pick one of the animals left or do all of them and come up with something yourself. And once you've done, then take a photograph of what you've made, like I've got here, and then submit it to the projects at Skillshare. And to submit your photo, you just scroll a little bit down under this class where you're watching and you see about and then projects and resources, click on Project and resources. And then on the left. You see a really purple? Yeah, it's purple, I think. But then that says, submit my project. You click on that, and then it brings you to New Page. You can add your title there. You can add some description if you want, and you see under there some icons, and one of them says upload image, and you click on that and you upload your image. You pick it from your computer or your phone and just submit it that way. And once you've submitted it, we all can enjoy the beautiful creations you have done. 9. Some final thoughts: So we've created all these little trading cards in the lessons, and if it all does well, you've even created some yourself, which I would love to see, as I said in the projects. And when I first started working on this class, I thought it would be a good idea to use different kind of papers on purpose to show what's happening and what's probably not happening. And I know I haven't covered every paper there is just a selection I do have. And you've seen in the lessons already how they react a bit differently. So this was the first. These were the first two made on market paper, the Iger market paper. There's also really thin market paper that has a backing to make sure it doesn't bleed through, which works very well, but for a trading card, too thin. So I had two fig. This is from the Budget store, this is a brand, and as you can see, the budget store is warping just a little bit because of the wet, the wet alcohol in it. So if I would, let's say, give these away or trade them with others or even think of selling them, this paper I definitely wouldn't use, but I would pick the regular marker, the better marker paper, the brand marker paper instead. Now the next one I did on Bristol Paper. And because I went very wet, I had this issue of bleeding that it started bleeding where I didn't want it to go. So if I would use this paper again, the Bristol Paper, which would work, I wouldn't go as wet as I did, but go a little bit less wet, and that might work pretty well, but I think I still would prefer this. Now the next one. I did on the smooth paper by Claire Fontaine. There was a little bit of bleeding. And whether that was me or the paper, well, that's debatable, I think. I would use this again, wouldn't go too wet, but it was nice paper to work on. And the surprise paper was this one, and you haven't seen me do that, but I did that as a test myself, the digital color printing paper or digital color copy paper, which works really well, which isn't really surprising because it's made for ink yet, too, laser and ink yet, and ink yet, of course, is a dye ink or a pigment ink. So that works with ink very well. And this is nice and sturdy paper, too. So not even a bad choice. But my preference would definitely be one of these the hot press paper. I really liked working on that. Nice thick, sturdy paper and takes alcohol marks really nice. And I also like that the difference between all of these is that this has slightly a bit of a texture, but this had a more texture, the mixed media hot press paper, not too much so that it would damage my markers. But enough to get a different kind of background and also a slightly off white color. And I do like that that just gives it a certain charm, which these ones don't have. This one has a little bit of the texture which makes it look nice. And also, when you decide to not only use the markers, but want to use some paint, some colored pencil, some ink or whatever else, you can just simply do that on this paper because it works very well with that. Now, if you want to trade these cards, give them somebody else or create your own cards, then you might consider signing them. You could do that. Now, normally, I sign my work on the back and put a date with it. But with these, I'm not sure if I would do that. Probably could work. But since they're in folders, nobody would see that. So you could sign them sl, very small on the front. But also, you could put on the sign them. Let's say I would sign this, then I would sign this with my name. And I put the date with it. That would be something like that. Sign them. And I would say what this is. So this is Alcohol marker and Water color paints on Hot Press. What color paper? So, and then whoever gets the card would know what it is and how you've made it. The other thing you could do is, of course, put a personal message on the back and sign it and give it away. Now, these I would have no problem with giving away or trading with somebody, I wouldn't sell them. That's because as you can see, some of them didn't work out 100%, or the paper isn't strong enough. It's bending a little bit. And I would definitely do all of them on quality good paper, if I would sell them to make sure that I don't run into issues. And then these two definitely would be my preference. I would do them on hot press, either the mixed media paper because of the background or the mixed media, sorry, not the mixed media or the hot press Watercolor Paper because it just works really well. And you could put any medium on this, also colored pencil, ink, gouache paint, whatever you can think of. But that would work here, too, but with a lot of water, this paper might actually start buckling a little bit, and this is probably a bit better for that. So if I would actually sell my cards, I would get the best paper, and then also, of course, spend a little bit more time on them, make them even nicer than that. They are right now. I think that concludes this class. Yes, no, all that's left to do is say, thank you for being with me in this class, looking forward to what you create. And I hope you really enjoyed this class. I enjoyed creating it just going through these techniques, but also experimenting a little bit with paper. And if you've got some different papers, hey, just experiment with them. You never know what comes of it.