Finishing with Pen Drawings in Color - Autumn Scene with Alcohol Markers and Ink

1. Introduction: Welcome to this class. This is the third in the series on drawing with a pen. We've done five steps and we add a two steps. And now we're going to add the last step. We're going to add some color to our drawing. Last class, we made a beautiful autumn drawing of pumpkin. Pumpkin, just one pumpkin and acorns, pine cones, and some great toadstools, subordinates. And O'Connor creates a lovely drawing with that with alcohol markers. In this class, we're going to explore outcome markers. Add color to our ink drawing. Now if you have not done the previous series, you could of course, go back and make, create a drawing. But drawing is provided with this class too. So if you want to catch up this way and you know how to draw ready, and I would say create a drawing. And you can start coloring into the alcohol. Markers are great to work with, to give great color, great effects. Nice ball, strong colors, nice blends, mixing gray colors. You can do some lovely things with it. And in this class we just want to explore that together. So I want to take you on this journey in alcohol markers and create for Autumn Joy, fitting this season perfectly. Now I'm going to explore two kinds of alcohol markers. The class mainly focuses around really inexpensive alcohol markers anyone could afford. But also in the project, I'm going to demonstrate using some way more expensive alcohol markers and show you the difference. And let me give away a secret right away. There's not much difference in it. The difference is really in the paper you use. So in the first lesson, I'm going to explore what materials you can use and how we can get the best results. And then we just start having some fun with these alcohol markers together. 2. What do you need for this Class: Let's start with what you need for this class. Of course, you're going to need some. You see me waving it around already. Some alcohol markers, some paper. But let's go through a little bit other things first, the first thing you're going to need is this drawing. Now, I made this the last time. And if you follow the classes, you already made this too. If you haven't made this drawing yet, you will find attached to this class two versions, one with only the outlines and one completely shaded so you can draw them and if you only want to use the outlines, that is pretty much yeah. Okay. To depend on what you use, we're going to use the shaded one, the shaded one. The next thing, what are you going to need is this photograph, this is attached to the class too. You may want to use that for your colors. Let me put that aside again and the drawing two. And when I'm moving the drawing aside, the next thing you see is paper. Now, I'm working on the spectrum Nawab premium market pad paper. That sounds really great and interesting. But what it really is, It's great for markets, but it is really a Bristol paper. So you could use the same pattern if you don't use it. Any kind of Bristol paper like this one here, just a simple Bristol paper block. Or let's see, I've got another one here. Sample paint on multi Techniques, smooth collapse. It says in German that one will work great too. The paint on series by Claire from ten will work great for Martha Stewart. Very nice paper to use with market. You want to make sure you have at least 200 g or more than 50. Now, B is this, I'm not sure what 200 g is in Albee's. Probably around 100 somewhere. Make sure you have a nice firm paper. The next thing you're going to need is some piece of scrap paper. We're going to put that in-between the pages of the market to make sure that if there's any bleed through, it's going to bleed through on the paper and not on your next page. That's paper. The other paper you could use if you have that, is some marker paper, especially marker paper. But Mark paper is really thin. This is really special marker paper. And as you can see, that is really thin paper. What it has a special coating on the back which prevents bleed through trade for market paper. But since we're inking, I've used the Bristol paper. And the last option you have, It's something like this. Again, multi techniques. This is really mixed media paper that has a little bit of a texture, is kind of a smooth tube, but you can use it for all kinds of things. And Marcus work good on it. But I would recommend getting some smooth Bristol paper, not the thallium one. You can get Phelan one, get the smooth one that looks like paper. Now I won't use watercolor paper. Some people use watercolor paper for the markets. But for this class, I would not recommend it because the ink doesn't flow as nice on watercolor paper because the water color paper, it just drains, drains the market pretty quick to just takes in all the ink. Bleed a little bit. While if the Bristol paper is nice, smooth on the paper and you can mix the marker, the ink of the market, a lot nicer. So don't use watercolor paper for this class. Bristol, or special alcohol marker paper you could use to, or if you don't have that mixed media, bit smooth mixed media paper too. Alright, Let's continue. The next thing. Of course, you're going to need markers. Now. Marcus. Marcus, now you see one mark laying around. I got these markets laying around. These are called touch soft, touch, soft head Marcus. And they're very nice when it's going to use, we're going to use this tip is nice soft tip. You could use these ones. You could use a little bit of a box here, the famous capex, whatever you have laying around, you can use what I'm going to use, what you will see me Using, not in the class, but in the, the extra added spectrum. Noah's Marcus, very nice Marcus Do you can get various one you can get. These are the older ones with the bullet tip on this side. And the newer ones are with the null. That's not the bullet tip again, are with the brush tip. But I'm not a set, I'm not going to use these for the art class. I'm actually going to use quite inexpensive markets. So let me put this stuff all sides. Let me find them. Well, there's somewhere around here. While looking for those markers, I came across another box. These are the chameleon Marcus. If you have chameleon markets color tones, you could use them. But I'm not going to use these mixing chambers. What you use is just simply the little brush tip on that side. So if you have chameleons, just use the regular marker and not that special mixing chamber. But if you want to, of course you can use it, but I'm not going to use that. So that's another option you have if you want to. But what I'm going to use are these guys. Now, here is the box, empty box, twin markers. Very inexpensive set. You can buy for. This was ten, €15. Have a nice set like this, with a nice range of colors. You can get different colors of this. I'm going to use the range here and I'm going to use debt for the drawing, the painting, what is it? The coloring? Let's stick to drawing. For drawing we're making with the alcohol market. So these are 61 in a set and they're very inexpensive, so you don't have to run out and buy very expensive stuff. Inexpensive stuff, just add a, something like $1 store would work too. And I'm going to demonstrate how nice you can see, how nice this actually works. How you can create something beautiful with these. I think that's it. That's all you're going to need. You're going to need some Bristol paper, some alcohol markers, obviously. And the drawings, you don't need to print them out. You can put them on your phone or your iPad or a tablet or computer. You have fungi and watch on the screen for the colors. Now in the next lesson, I'm going to show you which colors I'm going to use. I'm going to call out the color name. But of course, you need to translate that a little bit to the markers you have because I don't have every market on the market. I'm just stick to mine and show you to call us. And I will attach the color sheet too so that you can compare your colors and get the right Marcus. Alright, well, let's start drawing in the next lesson. 3. The Pine Cones: Well, let's start drawing them. Yeah, coloring, painting. What do you do with Marcus? I'll stick to drawing. Let's add some color to our drawing. That's the best thing to do. I've got my mark is ready. But the first thing I need is to know which colors I have on my markers. So what we're gonna do, first of all, we're going to make swatches. Now. I'm not going to demonstrate swatches. I'm just going to show you my swatches simply what you do with those. Okay, Let's start with that. Now you see the drawing here. You see that I've got two of them you don't need to do to, of course. And if you have followed the class, you probably only have one of them. I'm going to demonstrate one with the inexpensive mark instead I here. And I'm going to demonstrate one with the more expensive Marcus, just to show you a little bit of a difference. Alright, the first thing what you need is swatches. Now, I've already done that on some marker paper. And I've just called everyone there is. So I've got them on a certain order. The order they came in, I didn't change the order they came in. You could rearrange them, of course, get the colors that belong together, put them together, but I didn't do that. I just left them SDR and a swatch them out. So then I know which color I'm going to use. When I'm drawing, I'm going to call up the color I have here. I will also call out to color for D spectrum Noah's. If you have spectrum knowledge, you can compare. If you have different markets, then you may see If that are the same colors. But what I noticed with all these cheap markets like these two, actually, the cooler colors are really comparing a lot. And I think most of them exactly use the same ink. So they might have a different name on it, but the numbers often correspond to whatever colors they have in the different sets. But I'll make sure I get a photograph of this so you can compare a little bit the colors here. Alright, well, we're going to start drawing. We put some of this stuff site I don't need. I assume then that means you can't see my markers which are here. I'm just putting them aside, picking the colors I need. We want to focus on this drawing. I'm putting my swatches aside to, and I might pick that up once in a while to show you which color I am actually using. Alright, so we've got this drawing. Of course we need the nice colors now the photograph set is supplied. So what I'm gonna do, I'm just going to look at the photograph. I'm putting the photograph aside and I'm going to just look at the numbers of my solid the swatches and the numbers I'm calling them out and see which one compares. Now you might have slightly different colors, like I only have some pale yellow, not really a bright orange. I'm going to just use an orangey color, which is actually here, deep yellow, golden yellow. We've got great names for that. More on ocher color actually. I'm going to take some colors which I can get as close as possible. But if you want to use a nice bright orange for this, of course, go ahead, deeper colors. I'll leave that up to you if you want to change the colors a little bit. And with the spectrum Noah's later on I'm changing some of these causal, though I'm trying to stay as close to the original colors of the set. I've got. Alright, well, let's start. Now. The first thing I'm gonna do, if you have it in your pad, make sure you put a paper on it and I'm gonna do that too. Because if there's any bleed through out, just want to make sure it doesn't bleed through on my mat. No, but it bleeds through on the paper on it. Especially if you work in a sketchbook, you may want to really put a paper on there to make sure you don't mess up the previous, the previous, the next paper, not the previous one. The next paper. All right, let's start. We're going to start here with the acorn on here. Now I want to have some light brown on the lighter parts. I want to have some dark brown on the darker parts. So a light brown. I'm going to just look at my chart and we'll say which one would I pick? There's some here. I'm going to pick this one a little bit of an ogre color number 32. And let's check, I've got a second list I'm going to check now number 32 is G, B7, B7, B7. And find that for a second. Here it is G B7 on the spectrum. No, Are these are comparable, a little bit of comparable colors. Beforehand, I checked all these colors and made sure I have a list so I can compare the two, of course. Alright, Good. Make sure I'm getting the right mark. I'm going to go for really cheap marker. Now what I'm gonna do first, I'm just going to color simply all of the lighter parts with this color, 32 GB for T2. And that will be here. There. The nice thing about these markets I think, is definitely they have a brush and I really like Marcus with a brush. I'm okay with the other markers bullet tip too. But this is really nice to work with. Now it has a disadvantage. If you don't watch out, you're going to bleed. And basically what we're gonna do is I'm just going to not do gonna do anything special with this. I'm going to color all of these lighter parts. And there you go. I want to do those first because I know with these parts, I'm actually not going to mix any colors. And women leave this color, basically, as is this one behind there. Now with a marker, do not press really firm the new ruin, the tip. You don't want to ruin the tip. That is really a shame. So try to have light and if you want to do some bigger areas, use it as a paintbrush bit on its side. Alright, I've done those. Now I'm going back up. And what I'm gonna do, I'm gonna get my second color with it. I need a darker brown under there. And I'm going to use, let's see on the chat again. So I have this color, I'm going to use the column next to it. Let's use the colon next with the darker colored and 92.92 would be on spectral know what RB for, RB for 92 called chocolate here. And I'm going to leave this one, I'm going to put this one ready. I'm going to have two of them the same time. What I'm gonna do is I'm going to first of all draw in a couple of them and I'm going to need to make sure that my ink stays nice and wet. And I think I can do this. And then I'm going to swap. I'm going to put some of this darker color at the bottom. And the next thing I'm gonna do is going back with this light color, blend this in a little bit, and let the ink do its thing. And let it blend a little bit. Alright, keep on going here. And I'm swapping them around, coloring it with the dark color and make sure it doesn't get away. I'm leaving this to dry. We are going to the point where it's not touching that one. Definitely down here I can do and I might just do this one too. They're not going to bleed over in each other. If you do a large area like here, the ink might bleed from one to the other. Let's do a little bit there. So everywhere where we've decided that the darker parts are going, I'm actually putting in that dark color. And now I get, if you look really well, I'm getting free tones, the light color there, the first color, the dark color there, and the mix right there. If you keep on mixing with darkness, with dark is with markets, see what happens. As long as it's wet, it's going to melt into each other. So if you don't want to have all these colors are blending, melting into each other. Don't go over it too often. Let me check that I got the right pen, the right marker. Let's see, I can go up here again. Alright, I'm gonna do this one here, 2.1 go and this one, they're not touching each other. And there we go. Add some dark here, add some dark there. Add a little bit dark there. Might pull this up. Just a little bit more and get that light color and blend it in. And there we go. Now under here, I only want the light color I think. And let's continue this. I didn't do too nicely. Alright, Good. Let's do this one. This one. And this one are definitely not touching each other and this one isn't touching any of them either. And just to prevent that, one color bleeds over into the other, we're doing that only a little bit there. So that's basically the technique we're doing today. We're going in with one marker, the lightest color, then going in with the dark color and then mix it in a little bit with the light color again. And as you can see here, if you keep on mixing, you get actually a totally different tone. Let's see, this one I can do too, but makes sure I've got the light color, almost at the dark color. There you go. And I might as well do this one. Alright, let's do this one down here. It's not touching anything. I'm going by cliff that dark color here to let's see, and down here, I did. Let's do some of their two on the here. And now I'm going to mix in. Blend that in. And if you've got the right paper and it's smooth enough, you can blend them in a very nicely. So if you don't like this harsh line here, you just add a little bit more ink and just work it away. Let's see, I go back up here with the right color, please do this one. And I've touched just on that one. Now let me finish out here. There's a little bit there. Alright. Now do this one with a dark color. A little bit there. Good. And that's it. Alright, now I can go, this is still D. I set the icon, but there's not an icon. That is a pine cone. We're doing the pine cone first, the acorns redoing later. Alright, I haven't touched. This one is not touching that one. This one is not. And I can do this one too. Let's shoot state line of wet. A little bit here. This one, pretty much all of it. A little bit there. And down here we did do. Alright, and that's it. Let's see where did we do here? Extending here. Alright, good. I'll continue with this one. Here's one. And there's nothing there. Let's put a little bit in-between there. And there you go. I think this one, sorry. Pine cone is fine. Like this. Alright, good. And I would be the pine cone. We're going to do the other pine cones right away to while we're on pine cones, but I'm not going to use the same colors for that. So I'm going to put this course back in my books so that I'm not creating a mess on my desk. These ones now on the photograph, these are different. We're going back to the photograph. Let me show you that. These are brownish. These are more gray tones, so we need some gray and brown in these different colors. And that's why I'm swapping colors. And let's see where are we gonna do? We're gonna do a gray tone. I want to have a nice light gray. I'm going to go for this lightest, WG 0.5. And if I put a double G as the lightest in their spectrum, Noah would be, I can check my list and I have to find it. There won't be a G, G, G, G one. So the hair, so do we WG the warm gray 0.5? I'm using a gray, green gray here for one because spectrum no one doesn't have in this set. I have at least not a warm gray and I've got the whole set of the spectrum towards the older classic, none of the classic one, but whatever, once I got the whole set, 200 and something of them and there's no warm gray, so I'm using the green gray instead. Alright, I'm using that. Let me see. And then I need another color that's for the gray and then the brown. Let's check the brown around here. I would use the same chocolates. I'm sticking to that same chocolate. So the same dark colors here. I'm sticking to that 92 or the R before. And let's see. So mixing a third color, probably mixing a little bit of a different color around here. We're going to mix in a second grade, but we're going to use the blue-gray, the blue-gray one. And in this text from Nova, that would be the PG R1, blue-gray one, PGY1, a blue-gray one I'm using that is actually this color. So I'm using this light gray, this gray, and I'm mixing a little bit of brown in it too. Alright, I'm starting with Duke grace, alright, the lightest gray. I'm going to find that, that is this one. What I'm going to do is I'm going to just color all of this with the light gray. And you should see that just enough to get a nice tone. There you go. Since this is not a huge area, I'm just coloring in the whole thing. And if I'm not completely accurate, I might color a little bit. That doesn't really matter if in the other parts, because this is such a light color, it's not a problem. Just make sure it's nice and wet. I want it nice and white. And then the next thing we're gonna do. All right, Good. Put this one aside for now. I'm going to get to that blue gray and I'm going to wet the shadow is I'm going to add the blue-gray color. So everywhere where put in the shadow. I'm just adding this darker gray color. But now you say, well, now these acorns are really gray and that's why we have that Brown in a minute. We're going to add that brown to it to get a nice extra tone. But first, make sure it's got all of the gray. Yeah, I do. A little bit there. Good. I'm gonna go back to that very light color and just really quickly mix it in a little bit. There you go. Alright. Now we're going to pick up that brown color. Now I need to make sure I've got the right column because now I made a mistake. I put them the wrong cap. I'm not sure if this is the dark one or if this is the light one we use. And I'm going to say that this is the dark one because I know for sure because that cap I didn't change. So I've pulled up the wrong cap. And this is the 32. But I want to have that 90 to one and we're going to use the brush. I'm going to use debt, find that bullet tip on this side. To just add some dark brown excellence here and there. Especially in the really dark apart. With a line there. You go. Just get some brown in here. So as you actually see, these are still the pine cones and not some gray, whatever thing. Alright, Good. Little bit there. At the bottom. So I don't want this brown to overpower the gray color, but where it is really dark like these places here, under here, under there. I wanted to have a hint of brown hair and they're under there two, good, That's good. A little bit of brown. Alright. In-between all the gray, I'll think I'm okay with that. Alright, if you wanna do more brown, That's up to you. Of course, you could mix in that lighter color. We have just one way that 42 might just add some spots at just randomly. A little bit of that lighter to get the dare to. A nice effect. Alright, good. We'll leave that like this. I'm okay with that. I'm gonna go back one more time to do a really light gray. And especially where I've done the lighter brown and mixed it in a little bit and let the ink do its work and let it do some blending while I'm keep on working. When it's wet, it's still keeps on blending. I think I've got all the pine cones now, the next step would be the acorns. Now we're really going to do the acorns. I said we're going to start with the icons, but the pine cones were first. And now the next step we're gonna do the acorns, so we'll do that in the next lesson. If you have done these pine cones, and I'll see you in the next lesson. 4. The Acorns and Chestnuts: We've got a small part of our drawing ready now, it looks like a small part, but this is actually the most intensive partners, all the little details. The rest will go a lot quicker. So let's go to the lot quicker. Acorns, and let's do them. Alright, good, the acorns, Let's start with the icons and we might do the chestnuts in this tube. First of all, I'm going to put back that color, those two colors I have, make sure I'm not mixing up my set 40 acorns. What we're gonna do is I'm going to need a light brown. So I'm going to get this color here. I want to use a really light one, almost a yellow one. And it's called here, fresh yellow is nothing fresh yellow. This is closer to the acorns or 44. And in the spectrum that will be a GB free. And we're going to use a darker color. Of course, Let's see which one do we pick a dark brown? This one, this one isn't that those two would go really nice together. 101, and that's actually called a yellow ocher, although I would say this is more yellow ocher, this is a very dark. Okay. So an hundred and one, I'm going to choose for that. And in the spectrum normal asset, that is an envy-free. If I'm right, Let's check Yes, and be free. These I'm going to use for the acorn, but the little end of the acorn. So let's see this one. I think I might just make a little bit more grayish again. Yep. I'm definitely going to do that. Let's see, um, the same gray or different gray. Now, the same, the same light gray. I'm going to pick that light gray again, this one for the end. And then we have one here, the hood, the hood, I'm gonna do a different color again. I'm gonna actually mix up two colors. And let's see. I'm gonna do the warm gray there, and I'm going to pick this color here. I'm going to pick that brown. That's called The only bronze. Bronze 99. 99 isn't E B6 in the spectrum NOR. Alright, I'm gonna put this ascites, lets me start with the gray ones. And I'm gonna do the ends here, just this gray color. And let's see, there's one and the other one's actually there's an acorn here too. But those don't have that color, so that's it. And what I'm gonna do with this, let me see. I might just do this with debt color to, let's start with this one. I'm gonna do this one. Lift up color. And then I'm gonna go to that 99, that the bronze color. Add some shadow, nice dark color here. But I'm leaving this more light and now I'm going to go back to that warm gray. Makes sure right, blend this in a little bit. There you go. And I want to blend this in really nicely so that at the bottom, we're getting a dark color and at the top, a little bit lighter color, but I might have moved slightly away too much. And there you go. Now I can put these two way again. I'm not going to use this anymore. I'm going to go to that lightest almost yellowish color. We're just gonna do the acorn. I'm going to start here. That's a nice acorn color. So I would say you check your swatch and see if you can get something that is nicely close to this. I can do this one to here. The rest of them. Again, leaf to dry. Alright, put out. There you go. Just want to get that second column that 101, the brush. And I'm going to add just the color where the shadow is. There you go. Gonna do the same here. Where the shadow is. My put just a little bit around there. And this one a little bit there to get some difference between the other one in a minute. Blend this in a little bit, but I'm not going up there again. So I'm getting actually free tones, Same here, blending and then 11, I'm going to leave that color alone. I'm letting them blend in. So I get a nice blend a little bit more here. There you go, good. Now we can do this one. And see that goes a lot quicker than the previous one. Has a lot less details. And now let's do this. And that's the nice thing about having done a drawing first on red. I know exactly where I want those light and dark cost. Let's keep this very light. Just mixing a little bit better. And now I can go to this one day. You go little bit on the dare, get that dark color and blend that in a little bit. And nice. This is too much gone. Let's do one more at the bottom. And let's this again. That was a little bit too much gone. Okay, good. And that are basically the acorn. I'm going to put those colors back again right away. I think I've done all of them. These are all chestnuts, so I should be fine. And while I'm mentioning chestnuts, chestnuts, but I gotta go back. I see, I missed one. So let's do the 44 again. Let's not forget this poor guy here when he needs some color too. Alright, 44. Missed a little spot there. Go back to that hammer than one. The dark color. I wouldn't do it carefully around there too little bit. I'm going to leave that lighter. They're now going to blend it in. They go good. And that's it. Alright, now I can go to the chestnuts. Chestnuts has a nicer, deeper brown color. So let me see what we're gonna do. But this is light in a chestnut and this is of course darker and we're going to need some tones in here to let's see for the light. Yes, I'm going back to that light gray. I'm going to mix that in here. Yes. Why not? And that is a C, G, a G, G one on the spectrum, the last set. And here it is a double G, 0.5. And we're going to mix that in with a color on here. Let's see which color do I need? That's a good question. A bit of this color would work. 134, it's called raw silk, hundred and 34. And I'm going to mix it in with the gray a little bit. And 144 is A0 B1. So I'm going to use that for this Ds and these two. And then the rest of them, I'm going to use, see what? We're going to use. Brown. This brown is nice for yeah, I like that. It's going to be some Brothers and Rose Beijing. Yeah, Rose Bayesian numbers 97 and that will be t and for inspecting ANOVA. And then I'm going to just mixing. Yeah. Why not? Do these two college students would go nicely together. 92 again, that is the chocolate or EV-1 or RB. No, not EB are before in spectrum Noah. So here it is, 92 chocolate. And inspect to know what our before. Let's start with this one. We'll start with this nice light color. What does it call flesh now raw silk. Okay. Well, apparently they think raw silk looks like this color. Well, I have no clue. So they can tell me anything they want. With that. I'm going to put this here with the gray and a nice shadow. Same here. Get that nice shadow. Go back to this color. Just a little bit over the gray and let it blend in a little bit. Alright, nice. I don't think I need these two anymore. For now. That goes quick. Then the next step would be to 97 is the lightest color. Yes. So let's see who might need some down here. Start with this one and pick that one. Back here. That is a nice chestnut color, isn't it? Alright. I like that. Okay. And then I'm going to have a very dark color. Let's not do all of it. Here. We definitely all but let's leave a little bit lighter color there. I'm mixed it in a little bit. Alright, good. Um, let's see, can I do this one right away? Yeah, I can. Color it nicely. Good. And I'm going to go for that dark color. Shading a little bit. Add some spots there. A little bit on the Darr. And now I'm going to blend nicely, this alumna blend in nicely, and this blends in, again, I'm not touching that middle. I want to keep that nice light color there. Okay, Good. We're going to not do that one. Let's do this one. Now be careful. Alright. Starting to look pretty nice, isn't it? Then the shadow, again, I'm doing dark. I'm not going there all the way with the shadow, becomes really dark. That's blend this in a little bit. Let's give this just a second application of the same color. There you go. That looks nice. Missed a little bit there. Now the last one. All right, It's good. We're almost there for these ones. Let's do it like this. Let's blend that in. Just a tone. There. There you go. Good. You're starting to look really nice. And that would be D, acorns and the chestnuts were coming along nicely. I'm going to put these colors away. I'm not sure if I'm going to use them again. The next thing would be working on the root here. See, we're gonna do it as in this lesson. We're gonna do that in this lesson two, I think we easily, Yeah, why not pick those three acorns, chestnuts, and the boat? And then in the next lesson, we're gonna do either the pumpkin or the toadstools. But for now, let's do the root doubled. Let's take the photograph of the world. In the world, there's various colors in it. You go, I'm seeing some browns and some gray tones. So I'm going to use some brown and gray tones in here. Let's see. Let's pick a few calls. Put this aside again so that I can see it and decide which colors we're going to use. Let's see. Do moods. Want to pick my color? We're not going to use debt really light gray anymore. We've used that quite a lot. Now, let's see how we are going to attack, attack, tackle this one. I want to use at least that blue gray, this color here. Yes, this color we need blue-gray or BGR one in petrol Navarre, MPEG-1, blue-gray one in here. We're going to use that to draw that, and then we're going to use a warm gray. One of these CDs are nice, not brown. We refuse these browns. So we want to keep some difference between the world and these colors. So prevents using these colors again, at least not too close to the icon for now. And what we're gonna do is warm gray five, and then we'll be in the spectrum. Nawaz said, I would use a brown gray freebie G3, and then a warm gray seven. We're going to use that one to here. And that would be a B G6, brown gray six for now. And then later on we might actually mixing a little bit of brown. Let's make sure this is still nice and folks, because I moved around a little bit. Alright, I'm going to start with the blue-gray one. Let's see. I'm gonna do this part here first. All right. We're gonna do this here on the main part. We're gonna do in the next round. All right, good. Let's do a little bit more here so that we get nice application. Alright, That would be the gray. And gray, isn't it? Okay. I do this here on the hair too. Let's do that too. Alright, good. The next thing. What I'm gonna do is I'm gonna get that warm gray five. This is the seven warm gray five. We're going to add some warm gray to these parts. I'm definitely gonna add that here. Most of this C and now you get a nice contrast between these two rounds. This is a warm gray and that acts as a brown a little bit instead of using a really strong brown. And let's do here. Definitely in there. And they're definitely there. All right. Let's do a little bit more here too. Okay. Alright, Good. Now I'm gonna go to that very dark, warm gray seven. And I'm definitely want this part to be dark spot to be really dark. And is there anything else? No, maybe maybe around the edge. They're a little bit but that's about it on here. Let's do this to shadow on the dare, very dark. And now we're going to go back to that lighter color, the blue-gray one. And I'm going to mix these colors not at that dark. Let's leave that alone a little bit. But definitely these colors blend them in. And especially here I want to blend this in a bit nicer than now. Create a nicer transition. There you go. Alright, let's leave that to dry for now. Good. Now we're gonna do exactly the same. Or while I have it on this here. That is pumpkin behind there and that's not touched it. Now with this, you could follow the photograph exactly with the colors are just improvise a little bit. I think I'm going to improvise a little bit. Um, let's see. Come there. Yeah, alright, good. Let's get the warm gray five, this one. Let's see. One definitely of course. Had the dark part around here. Somewhere around here. The bit at the top, going all the way around, right around there. Good. And since I scrambled most of that, let's add some color here too. Alright, good. The next thing we're gonna do is that really dark, warm gray that goes on there. Might do. Pod really dark. And around here a little bit. Okay. That's good. Alright, and I'm going back to that blue. Let's not touch that part. At least as little as possible. So we can get free tones in here of two tones, at least off the gray. Good. Alright, we're going to leave this to dry. For now. We're going to come back later to it and won't forget. We're going to add some brown to it. But for now I'm going to leave this to dry. Alright, good. Let's see. I'm going to put this aside. I might need d, so keep those three colors for that one. Let's keep that. Let's see which one do I want it? I'm going to add in some brown here later on. Let's keep the blue, the blue gray or the VRB G, R1 at the spectrum of Noah's. Let's keep the left, let's keep that one, put the others I'm putting back in. Alright, we're gonna do this a little bit too here. Let's do that. Let's see what calls do we need for that? Alright, some light colors and dark colors. Let's see, I want to use, let's see this color. But I want to do the light color first. Let's go for 130, that's silk. Yet that row, so hundred and 34, EV-1, I'm going to use, then I'm going to add some brownish color to it. I'm kinda Which one? Not once I used here. Let's see. Or should we go for this? Let's go for this one. A little bit of lilac. Yeah. It's called gray lilac, yeah, 79 then that's an Alpha-2 in the spectrum, Noah. And so we have these two colors now and we're definitely going to need some gray tone, some shadow in it. That would be this one. The blue-gray fee free, BG free, or the blue BGR free at the spectrum, no assets. Yeah, I'm going to use those three. Let's do that. Alright, the light color is this color, of course, the raw silk. And let's see what to do the whole thing with this color first. We're going to keep that as the light color. Might not be total list of photo, but this will work. Then the next thing, what we're gonna do, we're gonna get that lilac color and I'm going to use that actually as more of a shadow. And let's see, when do the whole thing was that here, here shadow and this, the whole thing. And then I'm gonna get that blue. This blue, I'm going to use as the shadow for this one. Nice. Let's see, I don't think I'm going to mix this in. I'm going to leave it like this except for up here perhaps. Makes that a little bit. The rest. I'm just, oh, I'm fine with this. Alright, good. Now, that probably should be pretty much dry by now. But let me first put these colors away. What we're gonna do next is we're going to mix in some brown out. This is definitely too gray now, so we're going to add some brown to it. And we're going to decide which brown that is going to be. This one probably is best. Rows, beige, 97 or a t and four, I'm going to use this to Brown. I want to mix that in a little bit now, not too much. I don't know. Let's see. I just added a little bit as to brown. And then we're going to work it away with the gray again to get a nice blends here too. Yeah, that's definitely add some of that color. That looks nice. Not everywhere. Just pick some spots. Here everywhere, but here, around there. Wow, that looks pretty good. Let's do a little bit nicer. All right, good. Now I'm going to go back to the first grade. We had the blue-gray one. I don't want to mix this in a definitely a little bit. Let it blend right here too. I wanted this to be a little bit less brownish, good. One to keep some of those light spots. So let's make sure we're not working away all of that. All right, Now it blends in nicely. At this edge. A little bit. There you go. Now it's more brownish. More like, well, I like that a lot better. And now I think we're done with this part. Alright, We're getting there two more. And that is D, toadstools. And we're going to need that pumpkin, Of course, that's for the next lesson. Alright, catch up with me. I want you caught up with me. I'll see you in the next lesson. 5. The Toadstools: Let's leave the pumpkin till last. Go for a toad stool now, now these are the attraction together with that pumpkin, this will catch you to tension. But because of all the blends of the nice colors complementing each other, we get a nice composition this way, toadstools. Well, let's go for that, right? I got a problem with these toadstools. Well, and I don't have a problem with toadstools. I really liked toadstools, but I haven't problem with the colors. I do not have really red, red, reddish colors. I got this, this, and this go for red. And that is not read, read, read, read as toadstools are. But I think we can still get away with it by doing slightly little trick. Yes, we're going to use a little bit of trick. Now for the spectrum, nor was I. I would pick definitely different colors for this bright colors, but for this, I don't have that. So I'm going to play a little bit with it. What I'm gonna do is I'm going to put down a layer first at the bottom to make these red colored, reddish more. I'm gonna do the one, the large totes to want to play a little with. We've heard this one can stay darker, a little bit muted, That's fine. This one I want a bit brighter. So what I'm gonna do, I'm gonna put a yellow under it. And I only have one real yellowish color and that is this one is not even yellow. It's called a nice hundred and 64. I would like a bright yellow, but okay. For the spectrum, Noah, I would pick for this color, a C T, C T citrus, yellow. I don't know what is a C21? It is. Let me see if I can find that somewhere. See T1, if you see the cap, almost same but this is a little bit more greenish yellow. So CD1 for this one I'm going to put D and this yellow I'm gonna put under it. Then I'm going to blend in some of these rats. We're going to pick up this red, of course, all the rest of the race, the 214, that is called a bright Africa. And for spectrum nowhere I would use a orange, red OR free, OR free for that. I'm going to use this number 14 as the nice bright red, and that is actually is a red, familiar is a red color. And in the spectrum, Noah, I would do a CR that is unread. Nice red color, red, orange, bright color CR. And then the next thing I'm going to use forces this one for my dark one, and that is called French familiar, right? Nice color, 22 spectrum, Noah, I would pick for that one the C R 11. And then I'm going back to the different colors back again, but we'll see how that works. Alright, let's go for that. What we're gonna do first up here, I'm going to just make it yellow. Bright yellow, isn't it? Not a knife? Bright yellow but it is yellowish. Yellowish enough. Let's see. Let's go for the whole thing. We could leaf spot, they're white, but let's not do that. Let's go. Drove. Get this all nice and yellow as make sure we're not touching the scales. Want to keep the scales, if possible, nice and white. All right, good. Right. What we're gonna do is we're going to try not to ruin this, all of this. So let's put this aside and we're going to go in width, which is the next one to 14. So this one, yeah, the apical, the epic go to 14 bright apropos or the, OR free in spectrum who are on. This was the C21 and spectrum Noah. Alright, now this is a completely different color. It's not an orange, but it will do for orange. I want a bit of an orange red normally on the toadstools, but it will be this color. Let's see. I'll make sure I don't want to touch that part. Keep that yellowish. That would be okay. Could do it slightly rounder, but I think I'm okay with this. Alright, now we're getting interesting color on this one. This is still a bottom layer. We can use a couple of layers with alcohol markers, since they are hardly damage your paper, you can do quite some layers on it. All right, Good. Mr. Little bit there. Alright. Putting that aside, going to the next color, that would be the 14. Yes, I got them in line. That is nice. 14, CR1. This is going to be a lot redder. So let's see. We do want to have that of course of there now see, now we're getting some nice reds there too, but not, not all the way to work around that. Good. Alright. Don't think you can hear it, but the wind is howling here. It's a beautiful day. The wind is really, really strong today. Careful with those white spots. Not going terribly. Well. I'm sitting at a little bit of a distance from it for the camera, I'm hoping you will be slightly closer to the drawing so that you can really make sure you're leaving that, those nice scales as they are supposed to be. I would need to hover more closely to it, but I can't do that. Then you're not going to see much except for the back of my head. And I don't think the back of my head is really the educational. Alright, the last thing we're gonna do want to add some nice strong red with that 22, that French familiar CR 11 on the spectrum. Noaa, at some of these points where I want some really dark shadow. I want to add that, especially here at the end and at the bottom. Now we're getting a nice toad stool. All right, Good. More here. Okay. Great. Now we're going back to yellow or let's see. Yeah, I'm gonna come back to that yellow and I'm going to blend this in here. See if we can blend this in a little bit better, not touching the middle, just the edge here too. And that's the nice thing about alcohol markers. Nice and wet C. And now we get a nice transition or blending away some of those colors here to create a bit more of a light effect. Even in the middle. There you go. Good. Alright, I like that. And now I think I wanna go blend in that 14. Where is that, that familiar that red color CRT. Definitely with that dark color. Go over it with this color a little bit here to get that nice. Let that blend in. And that's nice. See, good. Right? I like that. Alright, I might have taken away slightly too much there. Add that in and let's go for that apical one more time. That's 214. Alright. That will blend in nicely. Since it's still wet. Should work pretty well. Look away the edge slightly. There you go. Alright. I'm going to leave this to dry. It looks like a nice TO, to go back to code is to distort. So I'm not gonna do the yellow one, this one pulling that yellow away for now, I'm starting with the 214, the bright apropos. And I'm actually going to do the whole totes too with that. All right. This one only has a couple of spots, so that makes it easier. Right. That's the first one. Missed few spots down there. The next one, I'm going to just go to the 14, that same color set up the 14 or the C or C ten. And I'm gonna go Around here. Please. Don't think I'm going to touch a little bit less large. Don't think we're going to touch that part. Leave that a little bit under the shadow, in shadow of the large toad stool. So less bright colors. All right, Good. Now, for the last one that really dark one. The the 22 or the CR 11. There you go. Alright. That's it for now. And I'm going back to that first color because I want to make a little bit nicer blend around these edges. All right, and let it do its job. Okay, good. Now, if you have a colorless blender, see if I can find one. Here's one. What you could do is right here, lift some of this color carefully. At some there and let's shoot, lift some of that yellow. And we can do a little bit there. And now let us do it work. Just leave it alone. And that will lift out the color as you can see slowly but surely see some of the widest coming back here to. And what we could do is here. This a little bit around here to get some nicer edge is if you don't have that, don't worry about it. Just leave it as is. Alright, good. Will be that part of the toe too. But that's not the whole TORC2. We need its stock, of course it's stem. We need to do something with that to complete that light. Alright, let's do that. Alright, the stem, okay, I'm going to look at my colors again. And this might be slightly tricky with these colors I got. What I'm gonna do is I'm going to use that raw silk. We can have it on Thursday for the IBI one, that would be a nice light color. Let's see, I'm going to need some of the shadow with it. So I'm going to use this as a base color plus white. I'm not going to do everything. Let's see which one would I pick this one? These two? Yeah, then then we get a bit of a cold fruit pink, right? It's pinky, pink 28, fruit pink 28. Or in these spectrum and a y, that will be T N2. If you have that set, use the T and T2. I need some gray, some use this, this one, the blue-gray numbness, That's a baby blue. Let's pick this one. Pg free for that, or the BGR in 32. Pg free, that is blue-gray free or BGR free. And the spectrum no asset. I think I'm going to use dose as the colors. And of course we need something down there to write. Just one color will do. Let's see, one got this one. Let's pick this 111. I got to find that here. That is called much easier TO hundred 11. And in spectrum real world that would be Dp1 picket Dp1 for that one. Okay? Alright. Start with this one. I'm going to just color down here. I'm not going to regard any shadow. Just give this a little bit of a color. And eye color works fine as a shadow on his own. Alright, create a little bit of a distinction between the stock and the white of these scales. Right? Now this one, what we're gonna do is I'm not going to do everything. I'm going to leave some white in it to really make it nice, we should leave a spot of white in it. Yes, we should definitely this one would be tricky. I'm going to start with that light color. What is that? 234 or the EV1 and started back, draw everything and give it a line here. I leave that spot white or that sport we'll do white. The next color. I'm going to mix in some of the shadow with that pinkish color, fruit pink number 28 or the T N2. Back here up down but you won't see much. Yeah, That's not go any further than that. A little bit. Very carefully, data's good. And I'm gonna get that gray, that blue-gray free or the BGR free and add definitely some shadow back here. That's not do up there. That's not only do back there. And now I'm seeing that my color is bleeding through, but since that is a light color, I'm okay. Let's pick the lightest color again. Do 134 or silk. Mix it in. Just a little bit nicer. And while I have it, Let's see, I want to do the same here. Color debt and not cover that. Last quite a large part. Why we can do that? And the rest we're going to color in. All right, good. This side, we're going to need that later on again. Now I'm going to go for debts, or does that that fruit pink 28. Do all of it. I'm going to do a little bit of a line here. A line here. Definitely do all these shadows here. And there we go. Alright, and then lastly, we're going to get that blue color. That's not blue, blue, gray color. Bgr free. Okay, and we're going for shadows around here. Shadow slightly around their shadow up here a little bit, and shadow back. And I think I might do a little bit there. Alright, and I'm going to work that out more or less away with that raw silk that hundred and 34 or the EV1. The edges, I want to blend in. A little bit. Nicer here too. Alright, and I'm just going to touch that anymore. I'm going to leave that like this. Good. That looks good. Alright, We've got two more paths left. Yes, D, pumpkin, and of course, we've got a background. Let's do the pumpkin first, but we're going to do that in the next lesson. Why shouldn't be a huge problem? We've got most of it already. Sort of pumpkin should go really quick. Alright, see you in the next lesson. For the pumpkin. 6. The Pumkin: The pumpkin, We're getting there two more paths, the pumpkin itself and the background. For the pumpkin, I'm only going to use two colors. You see me holding them. For the yellow. I only got one choice that will be that 164 and Nice color and I've got no other choice for the spectrum. No audit will be LG1, but I'm going to mix two colors there. And we're going to use an, what is it? C T2 to a, C T2 to C2 to yellow costs. If you have two yellow colors, I would play a little bit with that. And then for the orange, I'm going to use a two to two that is called here, golden yellow, but it's closer to the orange on the spectrum, the one that would be a BOT-2 and bright orange too, I think that is well, I'm not totally sure. So that will be the colors, two colors. Let's go spectrum Nawab, three colors on this 12 colors. And we're gonna do a really easy, I'm going to just do the whole thing in one go. I'm not going to regard light, shadow or whatever. Just go for the whole thing. Make sure I'm not going to blend in other columns in that. If you have more than one color on yellow, I will do this darker. But since we've got only one color, we need to play a little bit with that. You could live and white, but then it gets really wide. I don't think I want that on the pumpkin now under TORC2, I'm fine with a little bit of a white spot on it. So she is trying nicely. Can I move that booklet away and down there to allow it that color? So this will be my pumpkin yellow. Again, if you have different colors, one a bit brighter colors, you could do that. Here a little bit. What I'm gonna do next is I'm just gonna go again, but I'm not going to touch those spots there. The really bright, I'm going to leave. Really, really bright. But this I'm gonna do again, hopefully to get a bit of a second layer on it. On top there. Alright. And C, That should work a little bit, get it a little bit lighter than the rest. Let's move this a little bit in a nice shape. They you go. Now the orange. Just look a little bit of the photo and give it some orange. Definitely. On these lines. I'm just going to start there. Alright. It looks like a pumpkin. A little bit better, doesn't it? And the rest, what I'm gonna do is I'm just going to call up certain spots. Now you can follow the photograph exactly or just do a little bit. Random ones some more down here. And up here, I'm okay. Let's see. I want might not be on the photograph that much, but for contrast, I really wanted to down here a little bit. Alright, let's see. I'm going to do round here to do this two down here. Not because it's quite dark orange. Don't worry. Want to make sure this will get slightly lighter as it is now by going, oh, who with that yellow again. Alright, I like this. Let's see. I'm going to add some spots. Get it a little bit more. Pumpkin like I think I'm okay with this. A bit more here, probably slightly more here. Carefully, add a few spots here and there. Okay, Good. I'm there we go. That looks nice, doesn't it? Now what I'm going to do next is I'm just gonna go back with the yellow. Go for it. Try to mix it in a little bit, tone it down a little bit, and hopefully get it not as strong as it is now. Now if you have a nice bright orange, How would say definitely? Use that to create even more contrast in this image. Alright? Not drawing all of that. Only where I've done those spots. And there we go. Alright, and that is my pumpkin. Looks pretty nice, doesn't it? There? Right? I want it down here. Just a lay a stronger good there goes my pumpkin. I'll leave that to dry. Well, that wasn't too hard, was it? The pumpkin? Now the next step, the background. Now in the photo, the background is more of a Tuscan red color. I don't want to go get strong. I want to mute that down a little bit. So let me go through my list and see which color I think fits on this drawing. I don't have much choice left. I don't want to use a color I've already used, but I want to use some contrast in it. So I'm going to take a look. I'm not going to go for this pink ones, these lilac, There's all way too strong. I do like perhaps a combination of these two or this is too dark. But yeah, could work. Something like this. I'm gonna go disappear on here. This one that is a nice color, hundred and 97 and Spectrum know why that would be a DP two, I think let's pick that with it. 197, where is it? It's right here. It is called a light old rows and that is well, they don't compare, but as you can see, probably that color and that color fit. These are way closer. Alright, good. Right. And if you need again, I've kept the photograph in it. And if you need to compare them, just compare these colors with what you have. This color could go to, but it would make it really, really dark. And I don't think I want to do that. I'm going to stick to one color only for the background. I'm going to make it myself really easy. I'm just going to paint in my background nicely. Then I'm done basically it. Well, that's not for this lesson. I'm going to do that in the next lesson. I'll let you catch up first again. Do the pumpkin, create a nice orange, whatever colors you have in your set, create something beautiful. And then once you're done, I'll see you in the next lesson. 7. The Background: Welcome to the last lesson. We're going to do background. And I said, I just pick one color. You hundred and 97 light all rows. And we're going to do my background proof that shouldn't be too hard, should it? I just want to get a nice background. I don't even care if it is totally even. I can have some effects in it. I'm going to just start at the easy part down here and color this in nicely. Some background there. Yes, and I actually, I really like this color. Now you can do two things here. You can go really slow or you can go really rough. And depending on what you do, if you go rough, you get a more patchy background. If you go slow, you get a nice and even background, but you can also combine the two. So I'm going nice and slow. There you go, get a nice even background. But if I go really quick, I got a totally different than if I go back over it again. Of course, you get some darker. I'm think I'm going to stay too. Let's see. Nice and even and let's see how it dries because that's the thing with a large area. It always dries differently than you think because you just don't put an even amount of pressure always on your marker. So you get a different thing and if you go over it a lot of times like here, you don't see that. But if you only go over it once, like ASC, this is already drying up with a difference in it. Lighter spots, darker spots. That's okay because that gives a nice effect. Now I'm noticing something. I forgot. One spot there. So bring that in. All right. Let's continue here. Alright, good. But they're definitely there. I did all that. Alright, now let's do, let's do this first. Mock careful there. Now if you have a small, very small bullet point, you could actually use the back of it that has that large tip. Just not a bullet tip. I just can't think of the name and this moment. I'll show you that. But I want to keep them going before this old rise up. Spot forgotten there. Let's see. I'm going to create a transition here and not do the whole thing. Need some there somewhere while it's wet. I'm not going all the way to the edge either. Careful here. Draw around it first. Alright, how forgot a little bit there, but I don't mind. Let's see. Can I extend? Just a little bit? Alright, good. Mom, I'm going to leave this to dry and should it try nicely. Alright, chisel tip, that's the other one, the spectrum noaa has a chisel tip on the other side. I'm not a fan of the chisel tip, but it works for a large area too. Alright, good. If you want or you can do the whole thing. Of course, you can do this part too, or just leave it like either. I think that is a nice little bit of a transition there. Okay. Might add. Do I wanna do that? No, I don't want to do that. Just most likely might not blend in. We'll see what happens. There you go. Alright, good. We should be okay. It's got some spots. They're touched them up a little bit. And I think I'm okay with the rest. A little bit here. Still white there. Now that is the one I have white spots. Now I'm done. Alright, Now you can do this whole part here if you want to, or just leave it like this. I will conclude this drawing. Now. The only thing I'm not sure about his debt part, so I can touch that up. Let's see with the base color to 14, I think to 14, where are you? The Africa. Let's see if I can touch it up. Just a little bit better. Alright, now I want to go back with that. Bright red. Since this is wet slightly here. And let it dry. Okay, good. I liked that better. A bit nicer than what we had before. Okay. I'm putting them all back and that's it. Now, we're going to remove this one. And we'll see if we bled through here a little bit, see, and I would have gotten onto my other paper if you had another paper on the rate and you have colors on the right, and you just don't want that better is to use a paper on it that is a little bit of protection for your drawing. And that concludes this lesson to next up, is the project, the final part? I'm talking to you about the project and then this hard class system. Alright, see you in the last part. 8. The Project & Demonstration: Welcome to the project. And now you're probably saying, hang on. There's part missing. You said you do this twice. Yes, I'm gonna do this twice. I'm not going to walk you through what I'm doing again. I'm just going to draw the second part with the other markers and compare it. Once I'm done, That will be after this project. The project simply is yes, to create this and please do post it. I would really love to see what you create with this and what you come up with. Even use color variations. You could do that. Different colors, the colors you like to make this drawing really pop. I really like mine. And even though this wouldn't be the colors I might have chosen, naturally, they do work and it's a nice set. So I would love to see what you create. Let's go into the spectrum no apart now. Alright, so what I'm gonna do is I'm simply going to turn this paper over like this. There is my second drawing that you don't have a second drawing. You don't need to do this twice. I'm gonna do this twice. Put it nicely on the camera. There we go. And I've got a list of colors and I've got spectrum, no Rs. And here our day, what I'm gonna do is I'm going to just color and do exactly the same. I'm going to speed that up. Once I'm done, I'm just going to compare the two. Well, that's debts. I finished my spectrum, Noah drawing, coloring with the alcohol markers to what I wanna do now is the last thing. I just want to compare them so that you can see the difference between the two. I picked all the colors as close as I could as set for the pumpkin and the toads to make them pop a little bit more. At least that's what I tried. So let's see what the result is. And here they are, both of them. I numbered them. Number one is the one I did in the class. Number two is to one with the spectrum Noah. And as you can see, they both look beautiful. Pick your pick whichever one you like better. Some deeper reds in here. There's some bright reds in here. But pretty close. Perhaps some of the colors not as strong as you can see here. Like on here that D spectrum Noah blends a little bit more. So what you could do with something like that, use even a third color in it too, like I've done here. Use three colors and make a nice gradation with all the colors. I would say the inexpensive ones are not even overpower that much by the expensive ones. Yes, I've got a larger color range here, so I can play a little bit more of the colors. But these are great too. And the price difference between these two, well, it's night and day, and these aren't even expensive as the capex ones. Those are even far more expensive. Thank you for being with me in this class. I really enjoyed creating these drawings with the alcohol markers, really great medium to work with. And that also ends this autumn series for the next class. Well, it's got to be winter, so we know something when tree, I don't know yet. We'll see what happens with that. Well, if you want to do some more classes, there's plenty more classes I do have here on Skillshare. So I do hope to see you in another class of mine.