Quick Sketching with Water-Based Markers

1. Introduction: Are you overthinking on your lines, getting stuck on the details, taking forever to finish a sketch? If the answer to any of these is yes, then let me introduce you to the wonderful world of water-based markers. Hi, my name is Imran. I'm a graphic designer and illustrator, and this is my new class, quick sketching with water-based markers. With water-based markers, you can create quick sketches with beautiful expressive elements in minutes, not in hours. This class is aimed at all levels from beginners seasoned professionals, and its focus is all about sketching quickly, completing quick artwork using water-based markers. I'll show you how to get started quickly with these wonderful water-based markers. Even if you've never used them before. We'll start by going through what water-based markers are all about. We'll then move on to the class supplies, and then we'll move quickly to the exercises that you can follow along and really get warmed up in this medium. We're going to look at some simple application methods, layering methods, hatching lines and layers and combining them together. And then we're going to be doing a quick little mini sketch that you can follow step by step, that will take you under 5 minutes to complete. We'll also touch on the subject of blending, but not spend too much time on this. And then we're going to jump straight into full sketch where I'm going to be providing you with a reference image that you can use to follow along with me on a step by step system to create a wonderful, expressive work of art using water-based markers. And that's what this class is all about. Quick sketching, no stressing, sketching freely, capturing subjects that you love, and most importantly, finishing those sketches in a short amount of time. Excited to start the journey. What you're waiting for, grab yourself a nice warm drink, get yourself a nice little treat, get your water-based markers ready and let it get started in the class. 2. Class Project: Okidoke, welcome back. Let's now quickly run through what your class project is all about so that you can put it into perspective before you start watching the lessons of the class and it will get you really excited for what you're going to be doing. Let's quickly run through the exercises and your tasks. OkidokiF your class project, you only need to do four things and they shouldn't take you too long to do. Keep it nice, quick and easy. That's the whole point of this class. Number one, complete all of the four exercises that we go through in the class from lessons five to Lesson eight. Number two, complete the blending exercise, but this is an optional exercise where you will come to know when I explain the ins and outs of blending and that is Lesson nine, and then number three, complete the full sketch from the reference picture that I provide. This is covered in Lessons ten to Lessons 13, step by step. And ensure that you try your best to complete it within that 15 to 20 or even 30 minute time limit because we don't want to spend too much time making perfectionism, our aim. We just want to go ahead and do quick sketching with these beautiful water-based markers, and you should have a nice idea once you've completed all these lessons. Then the final stage is take lovely pictures of all of your work upload them to the project gallery so that all our lovely community of students can see your beautiful artwork and then ensure that you leave a lovely review on the class so that other new students can find the class and learn from your experience, and that's it. Four things that you need to do in order to complete your class project. Okdoke now you know what your class project is all about and you're super excited. Let's quickly run through some of the pros and cons of water-based markers so you can put it into perspective. Let's move on to that one next. 3. Water-Based Markers: Okay, welcome back. Let's now quickly run through what water-based markers are all about, and I'll explain to you why they're such a fantastic medium to use. Let's get started with that. Number one, speed and efficiency. Water-based markers allow you to apply color and line quickly, making them ideal for fast, quick sketching and capturing ideas without focusing on the fine details. Number two, loose and expressive sketching. They naturally encourage a more relaxed, expressive drawing style, helping you focus on movement and form rather than precision. Number three, blending. These markers can be blended while the ink is still wet, allowing you to create simple transitions between colors and suggest light and shadow. However, in this class, we're focusing on doing quick sketches so we don't want to get bogged down with spending too much time on blending. Number four, quick and easy to use. They require no setup or additional materials, making them convenient to use and allowing you to spend more time sketching. Number five, dual tips for versatility. Many water-based markers feature dual tips, typically a fine tip, and then maybe a broader brush tip or a chisel tip allowing you to create both detailed lines and larger areas of color with a single tool. Number six, they come in at a range of different price points. Water-based markers are available at a wide range of price points so that you can choose affordable options or invest in higher quality sets depending on your needs and on your budget. Finally, number seven, more flexible across different surfaces. Water-based markers tend to bleed through paper a lot less than alcohol based markers, making them more flexible to use on a wider variety of surfaces and paper types without damaging your work. Ok. Now you're excited all about the world of water-based markers. Let's now move on to what you need for this class and there's only a few items. Let's move on to the class supplies next. 4. Class Supplies: Hello and welcome back. Let's now make a start with the class supplies and really get ourselves all warmed up, ready for the adventure of water-based markers. I've got myself my coffee ready, so make sure you grab yourself a nice drink, get cozy, and let's get started. Okay, so on the screen here, I've got a few samples of different markers, and these ones, yes, of course, are water based. We've got to remember that for this class, we are specifically looking at water-based markers, ensure that when you go ahead and start the exercises, you do select the water-based markers that you have because sometimes it can get a little bit muddled up with markers and alcohol markers, and I don't want you to accidentally grab hold of a marker like this one that you can see a pro marker or a Sharpie. These are alcohol based markers. Again, I've done a complete separate class of sketching with alcohol based markers. So these we need to make sure don't get mixed up. To our materials. Let's put the alcohol markers away on the side. Ok. On the left here, I've got my favorite cheap brand of water-based markers, which is available everywhere. This is the wonderful crayola super tips. These, again, you can get these from anywhere. Supermarkets, local stores, a lot of people store these and stock them. If you have these at hand, if it's a pack that you've already got, then you can use this for the class. I just wanted to show you some other examples that you may or may not have heard of in this world of water-based markers. On the left, we've got the crayola and then next one is a funky little marker here, whether you've seen this or not because this one is from Ikea. So that's wonderful, lovely store, Ikea, depending on where you are in the country or in the world, you may or may not have heard about this particular brand. This one is called Mall or Mala. I'm not sure how that's pronounced, but I've actually only recently come across these because I got these summer kids to do a little bit of coloring and I actually didn't even realize that these were so good. So these are fantastic bullet shaped thick tip markers, and they are water based. So if you have any of these lying around, or if you happen to be shopping around in Ikea on the weekend or whenever, then do check these out. They are really cheap. You get a huge pack of these and they hardly cost anything compared to some of the more expensive ones. That one is my second option, mal water-based markers. Then moving on to the ones on the right, these ones are where we come into a little bit more of the expensive category. The one that I've got here, this one is a brush pen by local store WH Smith in the UK. Now you can get more expensive versions of these from a brand called Tombo and I do use them, but I tend to use them more on the gray shades of color. As with the color versions, I usually have maybe a jar of these lying around. And again, these are water based, so we've got a nice brush tip, which is fantastic to do sketching with, and we've got the bullet tip, again, great for using detail. That was the example of the brush pen from our local stationery store in the UK WH Smith. Then finally, this one is probably my favorite marker so far up to now because of the quality of it. This one is called the O huhu marker, and it's specifically a watercolor marker that is paper friendly. Now, this brand O huhu I didn't really know much about it till probably last year over the last 12 months. And they produce a lot of alcohol markers and various types of beautiful pens, and I never really kind of delved into it until I realized that they do water-based markers as well. So naturally, I just couldn't resist. And I got myself a nice box of these markers. Can't really remember how many there were, maybe 48 or 50 with a decent color range. And my God, these were fantastic. They dual which I love. They've got the beautiful bullet nib on one side, just like the WH Smith ones, and then this part is just great because it's the brush tip. I really like how this brush tip works, the application of these markers with the ink, the water based is just so juicy. I absolutely love it. So if you do have these great, if you don't have these, no problem at all. I just wanted to show you some examples that you can get in the world of water-based markers. So that's pretty much it. Just make sure that you get your markers ready and that they have enough ink in them to complete the exercises in the class because there's nothing like having a dry marker because you get all excited, ready to do the class, and then you find out half of your markers are dry. So do test them out. Do a little swatch of your markers before you get ready for the class. Let's now move on to the paper service. Ok doke, welcome back. Let's now look at the surface that I'm going to be using for this class and some of the recommended ones that I suggest that you use in the exercises part of this class. On the screen over here, I've got my go to favorite lovely pad by Rodeo. This is the vellum pad that I use all the time for sketching. You would have seen me use this in a lot of my other classes, and this is just a fantastic paper because it's cheap, it's so flexible. You can do quick doodles on it. And it's great for taking ink. It doesn't have too much bleed through, and again, using markers is all about avoiding that bleed through going onto the other pages, which is why we're not using alcohol markers. We're concentrating on our sketches and not having to worry about all that bleed through thing that goes on and ruins our books and sketchbook. So this is a great example of a paper that you can use for the exercises part of the class. Again, if you don't have this, that's absolutely no problem. Just grab yourself some printer paper. See if you can get some printer paper that's a little bit thicker. I tend to use quite thick printer paper for a lot of my design work and graphic design work. I go all the way up to 120 GSM. In the UK, we can get two or three different grades of paper. My favorite one is the navigator range. But again, if you can't get that or if it's not the paper that you use, don't worry about it. Don't want you to stress about the materials. I just want you to quickly get started because that's what this class is all about, getting started and building this medium into your daily habit so that we can eventually move it onto your everyday pages and sketchbook journaling. I'll just quickly show you a demonstration of this paper with the markers that I've got. I've got my Creola over here, do a nice light swatch. You can see that's gorgeous, isn't it? Nice and juicy, that Creola fantastic pen. Just use Creola for this class if you haven't got any others. And then this one, this is that mal or Mela from Ikea. So you can see that's really nice. The application is fantastic on that one, as well. I really do like these. I was quite impressed with them when my daughter was using them, and actually have gone ahead and nicked a few of pens without her knowing otherwise, she's going to end up throwing a tantrum. So don't tell her. I will put them back in her case, her lovely little pencil case that she keeps all that markers in. So that was the mal. And then we've got our standard brush pen by WH Smith. And again, I love that lovely brush pen because with the brush pen, the application part is so easy. Just look at how it glides with the nib, the kind of bullet nib, at the end. This is great for thin line work, detail work, which we're going to come onto in the later lessons of the class. Then finally, my all time favorite so far is the Ohh. So with the hoo hoo. Let's just quickly show you the wonderful brush pen tip. Look at that. That's just beautiful. It's so juicy. It dries really quickly, and I just love it. I love the feel of feels really premium, and they're actually not that expensive compared to the alcohol markers. So for example, we've got the pro marker here, which is the alcohol marker here. These are probably double the price of these. So again, you're limited with where you can use these because you're going to have to use them either on a sheet of paper that has a decent bit of protection or kind of marker layer on it to be able to avoid that bleed through or specific sketchbooks that are suitable for markers. Again, I went through all of this in the alcohol marker class. So if you want to check that out, absolutely, go ahead and do that. But with the water-based markers, you are just so much more flexible. You don't have to think too much about where you're going to use them. You can just use them in your sketchbooks, on paper, on little notepads. You can literally use them anywhere. Fantastic little medium. So, oh, that's the brush pen. Let's open up the side. So the bullet tip there, again, really nice bullet tip. You can see the bullet tip thickness is a lot thicker than the one from the WH Smith. I would say this one is probably a 0.3 or a 0.4 in comparison to how linewidth measurements are on pens. That one's probably a 0.1 or a 0.2. But again, great for line work and detail work that we can use at our advantage. So that was just a quick little demonstration of the pens that I've got on this rodeo paper. Again, if we turn this on the back, you can see there's only a little bit of shadowing, but there's no bleed through, so we don't get no horrible splogy marks going on to the next page, and that's where the advantage is of these markers and using a paper like this. So grab hold of your paper for the exercises part of this class, whichever paper it may be, test out your markers before to ensure there's enough juice in them, enough lovely inky juice in them and put them to the side and we can now move on to the first exercise of the class. 5. Exercise 1: Application Methods: Oki Doke welcome back. It's time now to start our lovely exercises for the class. Let's bring our attention back onto the screen now again. Okay, so on my screen here, I've got my lovely rodeo paper ready to go for the exercises. I've got my lovely Creola markers here, the super fine tip that we just saw before. I'm going to use these super tip creols to demonstrate all of the exercises in the class and at the same time, I'm also going to use my Ohh markers because that way, I can show you how a dual tip marker with the brush pen works and what type of results it can produce. But remember, if you don't have either of these or you only have one of them, then just go ahead and use the one that you have to follow along in the exercises. There's no advantage or disadvantage of having a certain type of marker. Just go with what you've got. Don't stress about the material or the supplies. All you want to do is concentrate on these beautiful exercises to start creating these wonderful quick sketches of your beautiful work. Let's start now. I'm going to start off with the lovely crayola over here. I'm just going to move these out of the way so they don't bump everywhere. I've got a similar color range for both of the markers with the creols. You don't actually have a specific color name labeled on them. They're just like a green, blue, and we could probably call this a plum color. I've got the similar ones for my O huh but again, with these ones, these are numbered. So if you have the same ones as me, if you have these markers, I'll just quickly read off what these numbers are on the screen here. I've got 72 blue. Then I've got a 77 lilac and then I've got a 54 deep green. Let's just move all of the markers out of the way for now and let's just grab hold of our crayola. I'm going to start off with the green, what we're going to do now is we're going to look at the application methods. What I want you to do is on your sheet of paper, whichever size paper you have, just draw on the left hand side in maybe one quarter of the kind of shape of your paper, a nice little leafy shape like this. I'm only doing these leafy shapes purely because they're easy to do, and they're just visually good at looking and comparing and contrasting the different application methods. Do a nice swervy leafy shape design like that. It doesn't have to be the same as me. It can be any kind of shape, a shape that you can actually fill in. That's what this first method is. It's the filling method. But what I'm going to do is I'm going to go ahead and I'm going to also do another one of these leafy leafs over here. I'm going to do something similar, just like I did on the one on top. Don't worry if yours looks different from the one on top. Just do the best that you can, draw them out like so. Then what I'm going to do is I'm going to close my green marker, and then I'm going to go and open my Oho hou marker. I've got the Oho hou one over here, and then I'm going to use the bullet for this one with the green, bullet tip over here and you can see the thickness has already been determined with the bullet tip. It's so much more thin compared to the crayola and I'm just going to do another one like this, another leafy design like this. These are just outline purposes. Then what I'm going to do is I'm going to go ahead and use my brush tip to do exactly the same. Again, with the brush tip, you have that huge advantage of going from thin to thick to vary your line weight, but that's not what we're doing here. We're just creating beautiful shapes, whether they're wonky, wobbly, it makes no difference like the ones that I've just done now. Just something similar on the page with three different shapes if you have three different markers, and in my case, I've got two markers with two different tip sizes. We've laid out the foundation of our application method. Let's now start with the first row. With the first row, I'm going to go ahead and get my creola marker, and all I'm going to do is fill it in. That's what this method is it's called the fill in method, the method that we all know, it's basically just coloring in your shape, like that. I'm just using up and down motions like this, going to fill in those gaps, give it a little tab. Good way to work with these. Use the edge over here you can see over here, we've got the tip that curves and creates this pointy part. Try not to use the pointy part to do the filling in. Try using this side part like this. If you find it easier holding it like that, do it like that. But you can see how quickly did we fill that in. It only took a few seconds. So that was the fill in application method using the creola. Let's move on to the hoo hoo marker. Now, with the bullet tip, it's going to take a bit longer to fill this in, so you've got to be a little bit more patient and just take your time. But again, sometimes it's just that kind of process that's relaxing, isn't it? Going up and down, filling it in. Giving you that kind of satisfaction, it creates a really nice noise as well, isn't it? I'll be quiet for a second so you can hear it. Look at that. Gorgeous noise. Beautiful, beautiful sound. That's a bit of ASMR sound. So just like that, filling it in, and you can see the comparison of this one and this, you can see that you've got a slight texture going on over here because the tip is so thin. And we've basically done exactly the same thing, just dabbing away at those gaps, fantastic stuff. So I've done that. Now for the next one, I'm going to use the brush tip of my Oho hoo. And then all I'm going to do is fill that in. Again, that's a huge advantage of the brush tip. It's so easy to use to fill in shapes, fill in areas of this water based ink, and it just requires no effort at all. Again, the application method that we've just demonstrated here with our two markers is fill application. Now I know that was super easy and you're thinking, Oh, I know how to color in. No problem at all. Just practice because what happens is if you haven't used a medium or a specific tool for a while, you get out of the flow of the application of it. This is just a good exercise to get that application going and just to see the results that you can produce in the time that you have. Fairly quickly, we went ahead and filled all three of them in. That's the first part of the application method done. Now we're going to move on to the second part, which you might find a bit more interesting. Let's grab hold of our creola and I'm going to work on that same one that I did here. This one, what I'm calling instead of the film method, this one is called the hatching method. We're going to do hatching lines in this one. Just like this. What we're going to do is going to start off by just drawing a straight line from top to bottom, this gives an idea of the lines and the curvatures that we need to follow. Then I'm just going to start following the curvature by leaving a gap starting from the bottom, going all the way to the top like this and it looks like a really nice pattern that, doesn't it? It looks like it's the inside of an onion, but we're not drawing an onion, we're drawing a leaf. It's a leaf. Let's continue with the design and just like that, going along the curves of that outer drawing that we just did, and that's looking pretty nice, isn't it? That's your second application method, how to fill in the gaps of your object and create a bit of interest, a bit of variety. Sometimes while you're doing this, you might see that I've got a bit of a bigger gap up easy fix on that is just draw in another line to complete it. What we don't want to do is we don't want to fill everything in. We want to see these kind of contour lines and this pattern emerging. That was with the creola looks fantastic. I'm going to repeat the same now with that bullet tip, and with the bullet tip, we'll notice straightaway that we've got a nice thin line, again, this is fantastic for this type of effect, this kind of application, filling with texture lines, hatching lines like this, just to create this beautiful pattern. The thinner the tip the more lines you're going to be able to fit in, you can see, I can fit so many more lines in. It gives it such a unique look and sometimes it just adds that another dimension to your beautiful artwork. So instead of just having a boring old fill over there, you can have something more interesting, isn't it? So there we go, just done it with the bullet tip. Let's move on to the brush tip. Again, easy way to do it is just split it in half first, and then just follow the curvy lines that make the shape from the edge, bring it in with your second, if you have space with the third, again, the brush tip is going to be the thickest tip so that you're going to get minimum lines in your filling in section. Again, I've got a thicker line there. I can just go ahead and drop in another line there. Looks fantastic. Let's close our pen. Always remember to close the pens. Otherwise, you're going to get that horrible dry tip, and then it's not going to work and you're not going to be happy. Try this out yourself. Try it out with the colors that you have in your water-based markers if you've got two or three different types of markers, see what results you get. Do it on a couple of pages. You don't just have to stop on one page or fit everything on whatever size sheet you have, go ahead and do it on there. And what I'm going to show you is I'm going to show you the harder you press, the more of that solution, that inky water solution is going to go through, and you're going to get a lot of shadowing. So that's one tip. Try not to press too hard or overwork. Kind of area that you're trying to fill in. Otherwise, eventually, what will happen is it's just going to tear through, and then you're not going to be a happy bunny, then, Are you so. Just keep it nice and light. Don't overwork it. Keep to kind of single layers and layers is what we're going to really talk about next. But just give it to go and see what the markers can produce as a result for you. That's exercise one done, application method, two different types. Let's now move on to exercise two. 6. Exercise 2: Layering Methods: Yoke, welcome back. Now we're going to be moving on to Exercise two, and we're going to focus now on layering techniques. Let's have a look at our screen again. I've got my rodeo paper ready to go, and I'm going to use my blue colors for my creola and my Ohh marker. Let's start off with the creola. What we're going to do is we're just going to go ahead and do similar shapes like we did before, those leafy shapes, and I'm just going to do a bigger shape here. With the creol just like this. A nice leafy shape like that. Then what I'm going to do is I'm going to go ahead and actually work on the crala one first and then we'll work on the O hou one. With the crala, what I'm going to do is I'm going to go ahead and I'm going to just lightly with a very light touch, just fill in the space that's on the inside. Remember, from exercise one, this is just a fill in method where we're basically just coloring in. But what you might notice is that I'm not going up and down to fill in. I'm just using the same direction and I'm just filling in the gaps now just to layer that color on and I'm not going to press too hard because with water-based markers, the more ink that you use, the more juicier that they are. They will start to crumble the paper if we go ahead and work them too hard. We want to keep it really nice and light, just like that. So we'll see the bottom of the page. You can see it's just lightly shadowed over there, and that's exactly what I want. What I'm going to do is I'm going to wait for that to dry now, and while we wait for that to dry, we can actually go ahead and just do the Ohohu one. What I'm going to do with the Oho one is, I'm not going to use the bullet tip. I'm just going to use the brush tip for this one because it's a lot quick at getting the ink down. Like this, I'm just going to go ahead and draw something similar on this side. See how a gorgeous color that isn't it that blue color? Then with that tip again, just going to go ahead very gently and lightly just going to draw in these filling lines just to come and fill up this shape in one direction. I'm not going over the ink that I've already gone down in, but I can go up in the other direction like this where we've got the white, then move it forward so that we can fill it in a little bit more quickly, like so so just like that, then wherever we have the white gaps, just use a tip of that brush just to fill it in. Not going to work it too much, just want to get a nice baseline color, and you can see how quickly we can achieve that, isn't it? I mean, this is a bigger shape than we had before, before we had smaller shapes. This is a bigger shape, and we've got a pretty decent filling over there, so I'm going to close the Ohohu one for now. Let that dry. Let's just have a quick look. You can see with the o huh, with the brush tip, it releases a lot more ink. It's way more juicy in its application. Do bear that in mind. The creola itself, it actually releases it at probably just the right amount where if you do overwork it a bit, you can get away with it. But if we had overworked it with the actual Ohou marker, like so, then it would have gone through quite a lot. But just bear that in mind. But again, for these exercises, I'm just using this rodeo paper, and I want you to use anything that you have that's similar like this, some thicker weight paper would do fine or even sketchbook paper that's cheap. I don't want you to use expensive materials for these practices because you can keep your more expensive paper for your class project. This is just to get you warmed up in the application and usage of these wonderful markers. This is now dry to the touch and I think the Yohuhs probably going to be dry as well. Let's now start talking about the layering method. With layering method, we're going to use the same color to layer. We're not going to look too much into different colors. We might talk about that later on we come to doing our full sketch. But what I want you to just do is concentrate on the same color that you have. On the left hand side of your shape, I just want you to create lines that are going down and just very gently overlap it, but don't work it on the same line. Bring it down. And then go up, but take nudge it in a little bit so that it covers the base layer. Just like that, you can see covering the base layer, we're nudging it in so that we're slightly moving to the center of it, just like that and that's about it. You can see it's a very subtle because with water-based markers, the layering isn't going to be as dramatic or as heavy as it is with the alcohol markers. So what we have to bear in mind is that we've got to be very subtle in this increase of tonal values and increase of darks and lights. So we do need to just work very gently and slowly with I'm going to let that dry now, and let's move on to the Ohh. You can see even on the screen that now it's slightly darkened that area. Again, that's just with the same color. So with the brush marker over here, I'm going to do the same. You can see with the brush marker because it releases way more ink, it creates more of this layered effect. You can see I've just added that line on there and it's dit it on. So I'm going to hold my marker like this now so that it uses the edge of the brush. And just like that, I'm just going to drop in some light lines, not pressing down hard at all, let the brush do all the work, and I'm just going to let it go to the middle. Just like that. Keeping it nice and rough, we don't need to be super neat. But you can see just with a few little strokes with that brush marker, we've created this wonderful texture so quickly, and even with the creole, it's created a really nice kind of second layer on top of that base layer. So what I'm going to do now is just making sure that it's not too wet. It feels a bit damp to me, making sure that we don't bleed through because once it does bleed through, and it will eventually bleed through with the layers that you put on. On the first sketching application, these markers won't bleed through, but the more you keep adding layers on, the more chances you are going to get to that bleed through unless you use watercolor paper, we'll move on to that when we come to doing our full sketch. Let's now maybe risk this and add a third layer on top of her very gently just back and forward. You can see it's adding it on. I'm not pressing hard at all on this. Very, very gently with this, you can see it started darkening. I think we should leave it at there before we have some leaky leaky bleed throughs going on. With the brush marker now, let's just go ahead and use the brush marker to add maybe just a little bit more darkness, another layer. Remember, it's the same color. We're just adding more of it onto this edge. And look at that. Beautiful, that, isn't it? That was the layering application method in exercise two. I want you to try this out with all of the colors that you have. Just draw smaller shapes, draw different shapes, add the base color on, and this is using the fill method that we did in exercise one. What we can do now is we can move on to the next application method of layering and what we're going to do is concentrate on this what we did before. So the lovely texture work that we did with the hatching. We're going to do some layering with that. So let's quickly move on to that one next. 7. Exercise 3: Hatching Layers: Odoki welcome back. Let's now move on to exercise three, where we're going to look at layering again, but we're going to look at it from a different angle, and we're going to introduce our lovely cross hatching to bit. Let's get back onto the screen, and you can see, I've got my third color, that lovely purplish plum color with my Ohh and my creola. So what I want you to do now is with your lovely pen, I want you to go ahead and just draw a beautiful leaf again. We're going to stick to these leaves because they're just easy to draw. It's not about overthinking things and thinking, Oh, what shall I draw for these exercises? Just draw this shape. Give it a nice little fill just like we did before, nice and easy, and we're going to let that dry just like we did for exercise too. Then what I'm going to do is close this and do the same with my ohh using the brush marker tip, just like that. Quick little shape. It doesn't have to be accurate, it doesn't have to be super neat. It just needs to be done, doesn't it? Get these exercises done so that we can get to the exciting stuff. So just like that, I'm just randomly just filling it in backward and forward, not really worrying too much about how I fill it in, as long as the color gets there and as long as I don't overwork it. So that's that done. Let's now just wait until this dries off and make sure that we're ready to do that next method. I think I might just grow, grab myself a nice little tea while that dries. I'll see you when I'm back. That was a nice one. And I do enjoy having me ginger tea and this nice cute little fancy mug that my wife got me. Fantastic stuff. All done. Fantastic little shot of ginger that. Ginger tea, that is, not anything suspicious, so let's put that to the side. And what were we talking about? We were talking about some beautiful layering applications. Oh, hello and welcome back. I was just enjoying that nice little cup of ginger tea. That's what it was ginger tea. And I've nicely replenished myself with a bit of energy and a bit of ginger extract, and I'm ready to go, and I think these are nicely dried out on the table, so let's get back to. Okidoke now, so everything is nice and dry. Let's grab hold of our crayola marker now and concentrate on the one on the left over here. Let's go ahead now and add our second layer. Now, remember before we just added the layering in on the left hand side using that fill method, what we're going to do now is we're going to go ahead and draw a line in in the middle like so, go up and down a couple of times. And what we're doing is actually going in and drawing in that same technique that we did in exercise one, where we're just drawing in those lines to follow the contours and effectively creating a hatching within our shapes. You can see that it started creating this beautiful line and we've just basically joined up those two methods of hatching application. And layering and it's just fantastic. What I'm doing is I'm going backward and forward very gently. Don't want to press too hard and you can see I've created this wonderful, beautiful pattern. I'm going to do the same again, just like we did before in the other exercise. Now, sometimes with the pens that you're using, you might not be able to pull this effect off because of the ink intensity that your particular pen has. Don't worry about it if this doesn't work. Because we're using the same color and sometimes it can be difficult when you're using the same color to produce an effect like this. But again, we're going to move on to more interesting secondary and tertiary colors when we combine them together. Don't want to give too much away, but for later on, let's just have a look at what we can achieve with what we have. With the Yo hoh, I'm going to stick to the lovely brush marker over here because it's just easier in the application and you can see, with the Ohh, it just works so much more dramatically compared to the creola. So let's just do that now, nice little lines, hardly pressing anything, I'm letting that marker work. That's why I love these markers so much because you can just produce this wonderful layered textured effect so easily all with one color. That's so difficult to do. Other mediums because you have to wait for the other mediums to dry, and then you don't know how the medium is going to react when you apply it with watercolor. It can take absolute ages and you can spend time creating beautiful artwork and enjoying the process. But we want to do quick sketches in this class. We want to focus on the time that we have in between our everyday pages and our more technical drawings. But look at that. That was done within literally just a few minutes. Gorgeous texture of that, isn't it? Now imagine using this in your sketchbook for your everyday pages. When you've done that subject selection and you've created these beautiful outlines with pencil, you can go in with a water-based markers and start doing the detailed work in layers. But again, we'll move on to that. Later on, let's now look at the results that we've achieved. So with our beautiful purple color, you can see let's have a look at the kind of bleed through. And again, it's shadow as expected, it's not gone through because we've not been pressing hard. If you do this on watercolor paper or some decent quality thick cartridge paper, then you're going to get even better results because you're going to hardly have any shadowing going through due to the protective layer that exists on those type of papers. That was the exercise for the layering method with some texture work and cross hatching. Give this a go, try this out with all your colors and then do something even a bit more funky, which I might just quickly mention now. If I just get rid of this, I'll move this to the side. Why don't we go ahead and quickly do that? Now, let's maybe use our Oho hoo. So I know you're excited and you just can't wait for me to show you this other technique. It's not really another technique. It's just an addition, isn't it? So let's just maybe do another leafy leaf over here. I'm just going to quickly go ahead, use that same beautiful purplish color, quickly, backward forward movement, move into the spaces, the white space, not overworking. Get it all filled in. And then we can actually test out something else because that's what I'm a bit more excited for. So let's quickly do that. As that's done, let's wait for that to dry. Ok. I think this is nice and dry. So let's work with another color. I know you already guessed it. I'm going to work with another color, and I have that blue and tie, so I think the blue is going to work really nice with this. Let's grab hold of my Oh ho marker, the blue one. I'm going to stick to the brush tip because that's just what I like to use. So with the Ooh hoo marker now, let's just move this a little bit to the center. I'm just going to go ahead and draw in my line and you can see the application is so easy. You don't get no feathering, you don't get no horrible jazzy branches coming out of anywhere. You've just got this beautiful clean line, ensure that when you do this technique specifically with another color on top with the texture work, the hatching line it has a layering technique. Make sure that that layer that you filled in with the solid fill that's completely dried, otherwise, then the inks just start merging and they start becoming all funky and produce this broccoli cauliflower look. Unless that's what you really like and want to do, then go ahead and do that and make it a bit more abstracte. Why not? Test it out, see how it goes. Don't worry about these lines being straight or I need to follow every single angle perfectly. Keep it loose like this. Just let it flow. If it comes out of the shape, don't worry about it, don't stress, let it come out, let it relax, let it live, and everything's going to be great. That's the lovely fill with the blue and look at that. That looks gorgeous, doesn't it? Just imagine doing loads of these beautiful funky little leaves in your everyday pages when you do your subject and your beautiful art I really enjoy doing that. That's another thing to note. It's so much fun because you're not constrained or you're not restricted by any rules or regulations. Remember, art is not about rules and regulations, it's about expression. I think these markers, water-based markers are one of the best tools that you can use for free enjoyment and expression. Try this out, try this final exercise of layering out, using the same color, using different colors, even maybe use a third color or a fourth color and see what results you get. Try doing some cross hatching. This is what we're going to move on to next just to produce some detail and texture work. Have a break now, go through the exercises, enjoy yourself, and then go maybe grab yourself a healthy snack and have a nice little coffee on the side. I think that's what I'm going to do and then I'll see you on the next exercise. 8. Exercise 4: Mini Sketch: Oki Doke welcome back. Now it's time for the final exercise before we do our full sketch, and this is going to be a fun one because what we're going to do is we're going to do a mini sketch of this beautiful, lovely little cup that I've got. I use this as an espresso cup. But what I've done today is I've gone ahead and filled it up with some walnuts so I can snack while I draw. So this is what we're going to concentrate this final exercise on so we do a complete little drawing before we do our full sketch. So I'm going to provide you with a picture of this, but I'm going to do this right now live while I'm looking at this on my desk. I'm just going to place this on my desk like this over here and I've got my lovely markers setup. I've got a whole range of colors from the pack that I had. You don't need to worry about what colors you've got. Just use any colors to produce this sketch if you have similar colors as this reference that we've got over here. So we've got light browns, yellowish browns for the walnuts. You've got this kind of speckled look on the ceramic part of the cup and I lip that's a little bit mahogany brown on the edge, and that's all you need. You just need two or three different colors. If you only have one color, just do the sketch in one color, follow along. The important part is to take part and follow along regardless of what colors you have, you just need to give it a go so that you can get some practice. I'm going to actually place my walnuts reference over there, I'm going to move my markers on this side and we can start doing the sketch. What I'm going to do first is I'm going to go ahead and just like we did in exercise one, we just did a quick outline with our marker, I'm going to go ahead and do that. I think I'll do that in maybe a darkish color. I've got this gray hair just for reference. This one's called BG nine. It's called blue gray nine. For this, what I want to do is I want to use the bullet tip. Get that bullet tip out. Again, we're not here producing beautiful reference images and perfect artwork or anything like that. We're just doing rough sketches. This is what I want you to do. Start off doing rough sketches and then when you get used to the medium and you become really quick at sketching, then go ahead and do beautiful artwork that you want to put in the wall or take to an art gallery. But that's not what this class is about, it's about getting started quickly. Talk and let's start sketching. I'm going to just draw shape, the outline shape of this. You can see I'm doing it very rough. I'm not bothered about straight lines. I'm just going in as I feel necessary just to come up with that sketchy look you can see it's so nice, isn't it? It's this beautiful sketchy look and it's just this jar, then maybe if we place a jar on this side, it's a bit easier to see. Then maybe we just go ahead and draw the walnuts, as well. So the walnuts have got all these funny, funky little shapes like this. I'm not bothered about replicating them perfectly. I'm just doing these fuzzy lines. That's all you need to do. Just throw something in there with a few fuzzy lines, and we're ready to go. And just like that, we've just gone ahead and done a quick little sketch. That just took about 10 seconds, didn't it? Just do your quick little sketch to start off, and then let's go in with some color now. I think I'm going to use maybe a lightish bluish shade for my first layer. What I'm going to do is I'm going to use the brush tip now. I've got this color here. This is actually called 185 CST or whatever that is. I'll just call it 185. It's a beautiful blue shade. I'm just going to go ahead and drop in this blue color. I know the color of my cup isn't this color, but it doesn't matter. Just use a reference image like I am, use the same one. I've got it attached in the class. I just download it and pop it up on your phone or on your screen somewhere and just give it a go, just copy it and create that outline and just do a first layer of a fill. I've done that first layer of the fill there with this blue. Now I'm just going to fill in those walnuts, and let's see what color we are. We've got this funky little color here. This one's called 31 Auburn, let's get the brush pen out. And yeah, that's decent. I mean, it's not the same color as the walnuts, but who cares? We're not bothered about that. We just want to enjoy ourselves. So just like this, I'm using the brush, the side of the brush tip over there, and I'm just lightly layering down that color. You can see already we've started producing a quick, beautiful little sketch. Not even done any other techniques yet. We've just done the fill technique, quick little outline and fill, and that's how easy it is. So I'm going to keep that color on this side now. Ok, now, I'm going to wait for this to dry. I think that's fairly dry, what I'm going to do is I'm going to use that same color now, that blue to do that layering technique. I need that brush tip side, and I'm going to start adding in some dark over here. Basically just going in with that second layer so you can see it's already adding it in just like this into this side because what I can see, not sure if you can see it on the screen, but I can see a bit of dark going in on that side of this little mug, just like that. And then that's about enough on the bottom left and then again with the brush tip. I keep opening the wrong side, don't I? Need to look at the labels. So with the brush tip again, I'm going to start going in onto the kind of left hand side of these shapes. And you can see it started creating this beautiful form and difference in value all just using the same color. Just look at that. We're just adding in a little bit of color into the bottom left hand side, just to give it that bit of depth how quick and easy was that? Imagine doing that in watercolor. You would have had to wait for it to dry. You would have had to create your solution darker, go in with a little bit of brush and a bit of wet and it'd be all over the place and it takes ages doing that. This is where the advantage of water-based markers comes in. I'm going to let that set as it is, and now we can do that next application method where we start doing those funky lines with some cross hatching. I might go ahead and do this with another color. I think I might just do it with a gray. Should we test it out with this gray yet? Let's do it with this gray. This one's called a cool gray and it's cool gray number four. With this, I'm going to stick to the brush tip, what I'm going to do is I'm going to follow the lines of the shape like this in the darker area like that. You can see add these lines in what this does is it creates so much visual interest, it creates texture. Again, it's just a great little way to practice with these markers, practice with any markers that you have, do it with the crayolas, do it with whichever ones you're comfortable with, and you can see what I'm doing here and I'm just breaking up my line very lightly. As we're coming toward the lighter area, I've got more of a broken line and that just adds to that. Perfect. What I'm going to do is I'm going to take it further now and I'm going to add a bit of a cross hatch going the other way, maybe starting it from here, just like that very gently, following it through. Don't worry when you do this, if you press too hard and it messes up, no problem at all. You can always start again. It's not the end of the world. Art is about relaxing. Not about the end result, it's about enjoying the process. You can see just like that, I've done a few little Crissy cross hatches there, and then maybe if we just add a bit of shadow, I can see a bit of shadow on my reference there, just like that, dropping a couple of lines just for a bit of shadow there. It just gives it a bit more interest, doesn't it? Just like that, let's close this up. What I might do is let's see if we've got a darker color for the walnuts. I think this color might be good. This one is called it's called sallow 21 sallow. I don't know what that means, but let's just get the brush tip out. And what I'm going to do is I'm going to start adding a bit more texture to this now. I'm going to add texture to the actual walnuts and just add in these little dots now. So these are effectively just stipples with a darker shade of that similar color just on the base of them just to give it a bit more texture and some visual interest. So look at that. Look how easy this is. So easy to do. We just sketched from a kind of reference. You can do sketches Imagination, I do that all the time. But just like that, just a few little dots here and there, and I think we'll call that done. We don't want to spend ages perfecting this. This is what I'm talking about. Quick little sketches that you can do with just a few colors. I mean, I didn't even need all these colors. I could have just done it with the gray and just filled it in with the texture. But if you have the colors, why not use them? Don't be afraid of color, use the colors, use colors that don't even work together. Just try it out, make it funky, make it work. Enjoy that process. There we have it. We've done our lovely sketch by following all of those exercises that we did previously. We just added in an outline. Then we moved into filling it in with that application method, a quick full fill, using that application method, using our water-based markers. Then we went in and started creating a layering effect with cross hatching and also with the same color to produce darker tones on the left hand side where the shadows were, and then we added in some final touches with some stipples using different colors. Added in a little shadow squiggle at the bottom, and that's it. We created a quick sketch within literally a few minutes and your job is done. Let's now move on to looking at maybe creating a more detailed page and spending maybe about 15 minutes on it or 20 minutes on it. That's what this class is all about, building you up to a level where you're comfortable enough with these markers to come up with a nice little sketch that will take you only 15 to 20 minutes to complete and then this will become your class so let's have a break now, maybe go out for a walk, have a piece of fruit, maybe even have a naughty little cake. I think I'll do that and I'll see you when I'm back and we're going to be rearing to go and start our full sketch. I'll see you when that's done. 9. Exercise 5: Blending: Welcome back. Let's now start our full sketch because we've done all the exercises and learned all those small little methods and techniques, and then we can use them all to create a beautiful sketch in around about 15 to 20 minutes because remember, that's what this class is all about doing quick sketches with watercolor markers in a quick little single session where you don't need to stress about anything using a reference or just coming up with something from imagination. Either way, that's what the focus of this class is all about. Before we actually start, there is a burning question in your mind. I can sense it straightaway that I've not covered the techniques of blending yet and there's a reason for that because as I mentioned before, this class is all about quick sketches. I don't want you to start getting bogged down with blending techniques and coming up with all these beautiful various layers of gradient from one color to another. This can be achieved with watercolor markers. But specifically for this class of doing quick sketches, I don't want you to focus too much on that side. You can use blending for your everyday pages when you want to spend a couple of hours creating beautiful blends of color. In those illustrations that you do for your everyday pages or for your sketchbook journaling. Just for this class, particularly, I'll quickly show you how to do blending with the Creola marker and with one of the brush pen markers, again, who wants so that you have an idea that you can actually go ahead and blend with them. I covered blending with my alcohol markers class in a lot of depth. Those techniques can be used with watercolor markers, but again, what we don't want to do. We don't want to get too carried away or get lost in blending too much. Otherwise, it's just going to take so long for you to complete one full sketch, and you're going to end up doing an hour's worth of sketching and doodling, which is fine for your everyday pages or for your artwork. But for this class and specifically for your class project, let's stick to the quick methods and quick techniques that we can use to do some quick little doodle style sketches just to get it all out on so on the screen here now, I've got some sheets of paper, and I've got my two markers, which I'm going to do a quick demonstration of blending on. I've got my creol lovely super fine tips that you've seen me demonstrate before. I've got a nice yellow shade and orange shade. We'll do a little quick blend of that color into another. Then again, I've got my Ohh markers. The numbers on these ones are 33 light orange, and then I've got 23 reddish orange. The reason I'm showing you both of these markers is so that you can have an idea of how it works with the brush style tip and how it works with the cheaper creol markers. Can do blending in various colors and shapes and sizes, let's quickly start. The paper that I'm using is going to be the paper that I use for my full sketch. This is important because blending can take up a lot of ink and it can wear down the paper because these are water-based markers, they tend to crumble the paper as you keep blending. You do have to ensure that you use a suitable paper for this. I wouldn't do blending on the thin paper that I used in the exercises before by rodeo because that'll just start bleeding into the other sheet. That's one of the main reasons I wanted not to concentrate on the blending process. However, I'm going to do it on this lovely hot pressed watercolor sheet that I've got. This is my go to watercolor sheets that I usually use for sketching with watercolor markers. Great for absorption. You won't get bleed through on these because of the lovely coating that they have. Again, hot press usually works nice and smooth with markers. You can use coal press, of course, if you want a bit more of a texture in the strokes that you use, but this is just a personal preference. I've got some sheets cut up over here in A five size. I'm going to do the blending on this sheet because I'm going to use this same paper for my full sketch. Let's just move them onto the side and let's probably start off with the creola. I'll move these onto this side and then keep these here. We're going to start off with the light color. Again, with blending, I would always advise you to start off with a light color, and I'm just going to go through the simple steps. With my yellow marker, what I'm going to do is I'm going to start on the left hand side over here and I'm just going to drop in a nice little swatch, you can see this marker isn't very juicy, it doesn't want to release too much it probably wasn't a good color to use, but I'll continue. I'll continue for the class. You can see, it's not releasing much ink, so we have to work fairly fast with it. And then I'm going to quickly swap to that orange, that darker orange. And what I'm going to do is I'm going to start on this side, and just like this, I'm going to bring it in, overlap it onto that area of that lighter yellow, and then go back. As so. And then I'm going to bring that yellow back in from this side, just from halfway point and bring it into that orange. I'm using circular motions to get these blending out. And if you watched my class on alcohol markers, you'll know that there's a colorless marker as well, and you do actually get colorless markers in these water based ones. But again, I don't want to go into too much details of you delving into this blending exercise too much because it just takes so much time doing this and perfecting it that I don't think it's necessary, but you can use this technique for your everyday pages when you come on to doing but just for this class and your class project, let's probably just stick to our standard lovely little techniques. You can see we've got a nice decent blend going on over there and that's it with the creola, I would just go ahead and do that, lay the first color down, lighter color from left to right, then do the darker color from right to left, let them overlap, use the circular motions, and then if you've got a bit more ink compared to what I've got, then do it again, do another layer of the yellow then with a very light touch with the darker, just bring it in, but use that yellow to blend over in layers. So that was with the creola. Let's now move on to our fantastic o huh markers. I'm going to use the brush tip. I've got the nice brush tip of the Huh marker here. You can see these ones is just so super juicy, with the brush tips, it's a lot easier to do the blending which you'll be able to see here. I'm just laying down a decent amount of color there and then I'm going to go ahead with the orange and you can see the orange is nice and vibrant and dark. Then I'm going with those circular motions, just stop at this point again, similar with the creola in the middle and then we're just going to go ahead with that yellow original yellow, start again from the left and then keep using those circular motions to blend it in. You can see we've got this beautiful blend going now, I don't know if you notice on the camera, as I was doing the blend, I was pressing quite hard because I was doing it quite fast. What happens is the paper starts coming off. You can see these little bits and bobs of paper fumbling off. I'm not sure if you can see that, this little fumble bit comes off off the paper, and that's the danger that you fall into with the blending. If you go in too hard or spend too much time on it, it will eventually start taking off that first layer of paper, and that's what we don't want to get into. We don't want to get into those complexities of blending and the paper messing so I would highly recommend that you don't go ahead and do blending for your class project or for this full sketch that I'm about to do. If it's something that you're going to follow, leave the blending for your everyday pages so that you can spend time on it and build the layers of blending, if that's what you want to do. So that's it for the blending part. Let's now pack everything away and get our clean sheets of paper now on the table, and let's get our reference image ready so we can start the full sketch. 10. Full Sketch: Ok, welcome back. Let's now start our full sketch from our reference image. Now, I've provided this reference image in the resource pack, do download that, open it up on your mobile phone or on your screen or tablet or iPad, so that you have it in front of you. You can even go ahead and print it out if that's easier for reference. I've actually got it on my iPad mini right here, so you can see, I've got this beautiful gorgeous, lovely reference image that I'm going to do a quick sketch of. Now, I'm going to put the reference image on the screen just so that you know what I'm talking about while I'm drawing it so that you have a bit of perspective. But the first thing to do when you have any image of reference or whenever you're drawing from something that you want to match with, then the first step to do is to select your colors. I've gone ahead and selected my colors. I'll just bring them onto the screen here. I've got a nice range of colors from that pack of O huh markers. So yes, I'm going to be using my O huh markers to do this skep. Let's now make a start. And let's move the markers out of the way. Now the thing with markers is that they're going to have a nice fixed color on them. So before you go ahead and start sketching the elements, just have another piece of paper. Again, the same paper that you're sketching on, it can just be a small sheet and have that on the side just to test out the marker color first because sometimes you might think a specific color has a certain finish and it actually doesn't turn out to be like that. So to avoid being disappointed, just test out the marker before you go ahead and use it. But remember, this image here, this is a beautiful image. It has so many different colors. It has dark blue, brown, oranges, earthy type, warm brown colors. It's got this beautiful mustard color here. It's got a turquoise color on this element, on that mug, and then some lovely ceramic neutral tones over there. Need to have every single one of these colors. If you only got one marker with you, just use that marker to sketch it out and do all those method of techniques of layering and adding in those cross hatching because that's what it's all about. But if you have the colors, then why not? Try matching with the colors that you have. If you have a different type of blue so this mug over here, then just use that blue. If you have a completely different blue for the teapot there, then just go ahead and use that, make it funky, make it cool and remember we are not doing a real life study all we're doing is using these elements that are scattered on this table just as a reference so we have something to sketch so we don't have to overthink it and get it done quickly. Let's make a start. Now, I'm going to go ahead and probably sketch the crossant first. That beautiful crossan I've got my sheet here, I've got a little mark on there. I don't want to do it on a mark. I want to do it on a clean sheet, so I'm just going to switch that over. For that cross on, I think I'm going to use a couple of oranges and maybe some mustardy colors and maybe just a dark color. I'm thinking these colors might work for me. Again, just pick the colors that you want and test them out. I'm just going to do a quick little test of these. That's a nice color, fantastic. That's the base orange color. And then over here, we've got a darker orange, more brighter. Then over here, I've got a nice darker shade. Yeah, I think these are going to be perfect. I'm just going to move that to the side, and I'm going to keep them in that order so I know where to start. So let's do the initial outline first and you can do the outline in one color if you want. If you have a gray marker, I've got a gray marker here. If you want to do the whole outline in one color and then go ahead and start filling in with that layer fill like we did in the exercises with another color and then maybe build your values on top with some cross hatching with a darker tone, you can go ahead and do that. I'm going to actually go ahead and use the color of that particular item instead of doing the darker outline first. Then what I might do is once it's all put together, I might go ahead and do the outline with that gray on top, but it's entirely up to you. Let's make a start. Let's now just add in a nice outline and with the outline, I'm going to use the bullet tip. Let's get that bullet tip out. So again, you don't have to make this perfect. It doesn't even have to match your image. All it is is just laying down these curvy shapes of what you can see. Again, we all see things differently. There's no right and wrong. Just get it down as quickly as you can and keep a little bit of perspective on it if you can, if you can. It all goes wonky and funny, don't worry about it. Now you can see, I've just dropped that down as a base outline and that's all I want. Then what I'm going to do is I'm going to go ahead and use the brush tip now to just go and add in some fill lines like this onto these contours and funny shapes of this lovely cross. Now I'm not really even looking at the image. I've just got it on my iPad in front of me. I'm just guessing where I want these lines to be. Again, we are not producing beautiful photorealism, anything like that. We're just using the reference to give us a bit of a guide to start sketching something, not worrying about the result, just enjoying that process, and getting that quick sketch done, swiftly and easily without any stress. At it for that color. Let's now move on to adding a bit of orange. Let's get this orange. With the brush, I think I might add in some orange marks here and then a few orange marks down here might leave some of the areas white where we have a bit of highlight from the sun coming in from the window. Again, you don't need to draw every element. For this sketch. You just need to do a basic outline, a few dibble dabs of color for the fill, and that's all we've done, Dibble dabs of the fill from that fill method. The Darkaton that I've got now here is this one, and I think with this one, let's use maybe go back to the brush pen. I'm just going to drop in some dark here just like this into those white spaces on the edge. I just gives it a bit more depth, doesn't it? Now, again, don't worry about too much overthinking things. Just get it down. If it doesn't look right, just keep continuing. Don't worry about it. Complete the sketch, and then you can move on to the next one. I don't want you to stress. All I'm doing is adding a couple of dots at the end for some texture work, and I think that's looking great. Now, what I'm going to do is I might add in some hatching lines using that same color now, that dark color to just put that to the side. I've got it all over me hands. That's another with markers, be careful when you're opening and closing them because you do have to close them otherwise they're going to dry out. You do tend to get them all over your hands. Maybe it's a good idea to have some tissue around otherwise you're going to sploge all this ink all over your beautiful illustrations. What I'm going to do now is I'm just going to very gently drop in a couple of hatching lines like this just to add a bit more visual interest on this little illustration, this doodle illustration that we've done onto that back part and then maybe just a couple going across like this. Just to give it a bit more depth. You can see so quickly I was able to just replicate that similar shape of that cross on and that first element is done. So we can now move on to the next element. Now, this cross on is actually lying on a folded cloth. So I think I'll do that folded cloth first. Let's find a decent color that we can for that folded cloth. Let's maybe look at a brownie shade. It's actually more gray, isn't it? So we need a warm gray. I think this one might work. Not sure what the color looks like, so let's just test it out. That's looking perfect. So that was just by luck, actually. I've just got these markers. I've not even tested them out before I started using them, but there you go. Sometimes you get lucky, don't you? So for this one, I'm not going to do the outline first. I'm going to use kind of the brush and I'm just going to start going in and just creating this kind of shape that I can see of that cloth, just like that. Filling in that area, just a light sketch, and I think that's looking good and then just bringing it in that overlap that we can see. And then I'm just going to fill it in. You drop in a couple of these strokes. Then again, just like that. Then what I might do is I might let that dry and then use the bullet nib to go over like we did in the technique class where you can see, you can go ahead and outline it. But because it's still a bit wet, I need that to completely dry and then this will give it a subtle outline. I'm going to keep this color on the side here so I know I don't lose it in my excitement and we're going to leave that part as it 11. Teapot: Let's move on to maybe the teacup. For the teacup, it's this beautiful blue color. So let's have a look at this. I think this is a nice one. Yeah, I think I'm going to go with that one. So just like this, very rough. Sometimes you just have to improvise if you go off a little bit and it's fine. I mean, this little hot here, it doesn't need to be perfect, bring it in. And that kind of lid that goes on top, nice and loose. Don't worry about making it perfect, that little handle on top and that's about it. There we go. There's the outline of that and maybe the handle that's over here. I know that handle is brown, but I'm not really too bothered about that. I'm just going to stick to the blue outline. Want to worry about details or anything like that. It's just about getting that first layer down. So that was the blue. I think I might use a lighter shade first. So let's use this nice blue here. I'm not bothered what the color turns out like. I just want to use a slightly different blue shade so that we have a bit of a variation. So you can see over here where the kind of light is hitting this kind of shape down there, I'm just going to add in the blue, the light blue, and then just over here, a bit more there, and then probably just a bit on the edge over here and maybe on the hot there. I think that's looking good. What I'm going to do with this now is I'm going to go back with the blue and maybe just add in some nice darker hues over here. I'm not going to be bothered about blending. All I'm doing is just using that upward motion to fill it up. And overlap it over that light blue wherever I can or wherever I feel like just like this, what we've done is we've just created a really nice effect, haven't we? So quickly, maybe just color this in. Don't want too much detail to come out. I think that's looking great. What I'm going to do now is let's get the bullet point and let's now start adding some nice hatching on this just like that up and down. Cross hatching. Nice lines going up and down, and we've got a interesting fill now, haven't we? I'm just following the contour of that shape. Beautiful stuff. Then again, on this kind of lip part over here, a little bit towards the light, and then maybe a little bit down here where this is attached. And because this is brown, I'm going to go ahead and maybe use a brown. Or should we just go ahead and do it as blue? Should we be adventurous? No, I don't want to be adventurous right now. Let's just go ahead and find a brown to cover that up. I think this is a nice brown, isn't it? Let's just test this out. We don't want it to be too light. That's a little bit like that brown. I think I need a darker shade of brown. So maybe Oh, that one's good. Let's do this one. But actually, I think that original one might be good as a base layer. Let's just drop in this as a base layer, and we've got this kind of glow on the edge, and we're going to leave that white. That's dropped in. Maybe the top there is a bit brown as well. So we just drop that there and maybe a bit over there on the chute I think that's looking pretty good. With the dark one now, let's use the bullet tip. To start adding in some lovely texture lines like this, broken lines just to represent that kind of wood look. You can see it's so easy to do this. You don't need to worry. You just get that color down, get that shape there. It doesn't even have to look like the reference image, just about doing quick doodles, not thinking just getting it down. So just like that, maybe a little bit of a cross hatch over there and that's it. What I'm going to do now is I'm going to go in and finish this off because this is nice and dry now. So remember, with that gray that I had, I went in and now you can see I can easily bring out some detail without having to use any liners or outliners. It's just so easy using that same color technique where we have the base layer down first, and then we use the same color just to go over it to add some detail. Again, what I might do is just drop in some subtle hatching lines like this. I think that's going to look great. Again, just on the edge over here so that it looks like it's folded nicely and then just here a little bit of dark to represent some shadow and maybe a little bit of dark here. For where that shadow is. We can add in shadows right at the end with just a base gray. But I think that's okay. So you can see, so quickly we were able to do this. But again, I'm talking my way through this so that it's going to probably look like it's taking a long time, but in reality, it isn't. What I'm going to do now is I'm going to go ahead and I'm going to use this same style that I did with both of these elements, and I'm going to finish off this drawing and let's speed it up so that you can see exactly what I'm doing and I'll talk while I'm doing it in the background and we can get this done. Let's move on to that one now. 12. Remaining Items: Ki doke. Now what I'm doing is I'm just working on that lovely yellowish mug that we've got over there, selected that color, doing the outline, exactly the same process, doing the fill in application in the areas where I see most of the kind of saturated color. Then I'm going in with another yellow, but that one didn't work out to be too good. Then I decided to use this beautiful kind of yellowish brown shade to really bring out a darker tone to just add a bit more interest in the values and to differentiate that base layer. Then with that same color, I'm just going in with those hatching lines to add a bit of texture, and then I'm just adding in some of that lovely color for that tea or coffee or wherever it is. And then I decided to just go ahead and start doing the same thing again for that bluish turquoise mug and the same process using a darker blue for the outline, and then I decided to do a lighter one on the inside and then just use the layering overlap method and some stippling for the texture on that mug. And then I moved on to the spoon, just using one of the gray colors that I had and then adding in a little bit of a darker shade just to bring out some contrast. Then I just moved to that sugar pot thing that we've got on the side. Adding it and draw it exactly the way it was. I made it a little bit thin because I was running out of space on the side, but the process, again, is exactly the same. Outline. Do some lines and textures of application and then just go in with some cross hatching and fill in the darker areas with a bullet tip. Just to add in some texture and details. And then finally, I moved on to the candle using that same method again that I've been using all the way through this class outline, fill it up, add a couple of texture lines on it, add in a little darkness on the right hand side to bring out some more details, and then just finishing it off with filling it in where that holder is. Yoke, welcome back. You can see now that I've done a nice little composition of that sketch, that on my iPad, the one that you can see on the reference, and you can see it's done so quickly in this loose, sketchy style using those methods of layering the coloring, do the outline, layer the coloring, do some cross hatching, just fill in the form of what you see. The next step, what I'm going to do is I'm just going to go ahead and add in some shadows, just give it a little pop. Then maybe just adding a light color on the background to represent the table and that's probably it. I might not even fill the whole thing in and you don't need to. This is just a nice practice, full sketch so that you have a nice scene to look at and use as a reference for yourself. Every time you remember in your everyday pages or just generally when you want to use markers, how did I use them? This will give you a nice reminder that this is the quick technique of using watercolor markers. And it looks great, doesn't it? It's so loose, not a worry in the world. Don't care whether things look right, don't care, whether things are laid out properly. It's just about getting it done and enjoying the process. I love the process. While I was doing this, I had a nice track on it in the background. So I highly recommend do this, sit down for 15, 20 minutes in a nice quiet place, put your headphones on, go outside and do this, just look at your scenery, where you are and just do a quick little doodle of your scenery with a couple of colors. No more than 15 to 20 minutes for each session to complete a sketch like this and it's such a fun and relaxing way of enjoying your time with traditional art. I'm just going to add in some background color now and then just going to go in and add in some shadows and then once we've done this, then I'll probably do a nice dark outline of the whole thing just to bring it all together. Do. So what I decided to do now was to start working on that wooden table. So I just used a side of the brush tip with this beautiful kind of light tone brownish shade that I had. It was actually a warm gray color, not a cool gray color. It was a warm gray color. And I just used the strokes in those kind of motions to create that texture. And then with that same color, I just went ahead and added in a little bit more detail on those planks and then just added in some of that wood grain effect just to give it a bit of perspective and to make it that it's actually a table that all these lovely items are on. So again, just testing out some colours now for the shadows, and I decided to go for this kind of darkish cool gray color. And I also added shadows on the actual items themselves, so not just on the drop shadow that goes on the table, but also to just darken areas, especially here where we've got the cloth, just to bring it out a bit more because I did find that it was kind of blending into the table. And again, just adding in dark I think it's necessary just to give the illustration a bit more of a pop, adding more contrast, and just playing it by looking at it to see whether it makes sense or not, just to pick out those details and ensure that we have a nice complete image that looks decent enough to continue. There we go. I've added in the background table and added in a couple of details by just layering that same color over the lovely wooden boards of that table. Then I've just added in with a gray, some shadow areas just to give it a bit of a pop, doesn't need to be accurate, just layering on top, not going in too much, just doing it really quickly. Let's now let this completely dry out because it's still a little bit moist and let's maybe go for a break. Then what I might do is I might go ahead and use a darker, really dark gray marker just to pick out some of these details and then we're finished. Let's have a break, go for a nice little treat, go for a walk, and I'll see you when I'm back. 13. Outline: Oh, this plant is, uh, getting a bit old, this, isn't it? Oh, I think I need to renovate, maybe get myself a new plant. I think when I go out market shopping, I think I'm gonna get myself a new plant. I do like this plant, though. Okay, what were we doing? We were doing some outlining work. Oh, Kiddok welcome back was just contemplating on my decor and how long I've had these plants, it's been absolutely ages. But they're not like watercolor markers that are going to run out. We don't need to replace them. We can just give them a bit of a freshen up, can't we? Right. Okidok. This is the final part now of the full sketch. And as I said before, if we have a look on the screen, we're just going to go ahead and do a light little outline with a darker color, and I've got this nice dark gray color here. This one is called BG nine, blue gray nine. I'm just going to use the bullet to go ahead and just do some light outline. I'm not going to outline everything. It's just to give it a bit of a pop. Again, you don't need to do this. You can even do this with a fountain pen or a fine liner if you want. I tend to do that when I do my everyday pages or my sketchbook journaling. I get the water marker down first, and then I go in with my fountain pen for the outlines. Let's just quickly do this now. Let's start with maybe the teapot. I think I might just darken this area here just like so with this gray. Just to give it a bit more depth and like that, I'm just going to tilt the page so that it's easier for me to do. Just remember tilt the page to make it more comfortable, make the angles more comfortable for yourself. There's no rules that you've got to keep the page straight. Do it as it works best for you. Just here, I'm just going to add in some dark over here outlines on the shoot area, and then maybe some at the bottom, and maybe some on the edge over here. I don't really like that blue outline. And maybe on the edge of the top part of the handle here just to make it more prominent, and that handle on the lid. I think that's looking great. Let's move on to the cross ont now. Just with the cross ont here, I just want to build some definition in between these kind of crossant curvy layers of pastry just like that. Not going to overdo it. Add maybe just a thick line at the bottom here, and I think that's enough for that. Maybe a couple of stipple dots just at the bottom to give it a bit more texture. Again, this is optional. You don't have to do this if you don't want, but I tend to like to do this because it's just my style of sketching. Let's do that cloth because I think that cloth is get muddied away in the background of that table. Let's just make it pop out. We just outline the edges of that cloth and the curvature shape of it. What this will do, it will establish that we actually have the cross on on something. Otherwise, it just looks like it's blending into the tables. Again, at the end, you can do some refinement work like this, maybe adding a couple of extra hatching lines just to give it a little bit of a pop. I think that should be enough. Don't want to spend too much time on it because you know what I'm like, that I love to keep adding details and going on, but we don't want to spend two, 3 hours on this. We just wanted to keep it within that 15 to maybe maximum 30 minute time. With the spoon here, I think this will give this a nice outline just like this so that we know we have a spoon. Just like that and leave the shadow underneath and maybe just add in a couple of dots there, a couple of dots on the inside. Then we've got our gorgeous turquoise mug here, nice thick outline on the edge over here as well on that rim and on the inside maybe a few dots, neaton up the handle. And I think that's about it. For that one, maybe just add a couple of stipples just to give a bit more contrast and texture. Then we can move on to the yellow mug. I think the yellow mug needs a decent amount of outline because it does look a bit muddy with all the colors, but I don't want to lose that texture and interest because I do love how those colors all kind of come together. Just adding that little outline will really give it that pop and it will complete that image, and I think that's about it, just a couple of dots there and maybe outline the tea or the coffee or whatever it is on the inside, just like that. A couple of dots there, and then maybe just a few kind of hatching lines from the bottom, maybe on the inner part of this, and I think that's looking good. I think I want to actually go ahead and do a nice thick line on the outside just to close it off so that you can see it and then it has its own nice form. Fantastic that. Okay. Let's move on to the candle. Let's do a bit of that candle holder, which is getting a bit buried away in that orange shade, just like that to bring out some detail. Then maybe on this side with those candle drips that are coming on the edge, maybe do the same on the other side, maybe darken it on the top. And we've got that little thing that sticks out, the wick, I think you call it, the wiki wick, just the wick there, a couple of dots on the flame, and then just like that, it's just brought it out, hasn't it so nice and easily. The final one, we've got this cool jar over here of sugar. Well, it most likely sugar. I don't really know what it is. It could be anything. It could be sugar, it could be some kind of candy in there, anything, whatever your imagination wants it to be, outlining this because I do like the kind of design on this kind of pot, and then we've got that spoon. Maybe with this spoon, just add a couple of stipples on it to fill it up. And then just on the edge there, and then on this darker end, maybe just add in some of these lines to make it pop out so that it looks decent. Again, we don't care whether this is a perfect image. This is just a light sketch doodle of this reference. So I think with the wood, let's maybe just add in a couple of these dotted lines where we've got the separation of the panels just to make them pop so that you know that it's sitting on a table, a beautiful wooden table. Imagine having this right now after this sketch. Just enjoying a nice cup of coffee with a beautifully, freshly baked croissant with a bit of sugar or even cinnamon. That could be cinnamon sugar, couldn't it? Look at my imagination, where I'm going? I'm getting really hungry now. I cinnamon kind of dusting on top of the croissant and maybe a nice ginger tea there and a nice perfectly balanced coffee over there, and we are ready to go, have the treat, and so that's it, then, that was the full sketch using all the methods that we went through in the exercises of sketching quickly with watercolor markers. So I hope you've given this a go. If you've followed it along, follow and do it in your own style, do it in the same style, and sequence like I've done it entirely up to you. Don't spend too much time on it. Spend at least 15 minutes on it, go all the way up to maybe 30 if it takes you there. But after half an hour, just leave it as it is. It in steps. Don't worry about the whole image as itself. It might be a bit intimidating because there's so many elements here and if you miss an element out, don't worry about it because just focus on the practice and on the application and just enjoy the process. Let's now maybe have a look at some other illustrations and sketches that I've done in my everyday pages using these markers and techniques where I've spent a little bit more time on. Let's move on to that one next. 14. Inspiration: Do. Welcome back. Let's now run through some of the examples that I've done using these techniques for my everyday pages, for my sketchbook journaling, and just for general artwork and sketching whenever I get the time, this will give you a little bit of an idea how to take these beautiful markers further on and really build them into your sketchbook habit and your general practice of traditional mediums. So let's move on to that one now. Let's start off now by looking at some little sketches that I do on a daily basis, sometimes whenever I get 5 minutes here and there. These again, are just really rough, made up sketches, using the markers, just laying down that first layer and then adding a bit of detail with hatching and stippling. You can see it's just so much fun to do. You can produce these wonderful abstract designs and patterns just when you have 5 minutes. This is a great idea when you want to use these markers and you've only got a little bit of time. There's example. I've got a load of these examples, but I'm just going to show you a few of them now so you have a bit of an idea. Again, this one, a little bit more details with this kind of made up plant at the back. This one I actually was doing some observational work on I think this was what I was eating. I was having some type of a cauliflower casserole type thing. So I decided to just draw the cauliflower pieces just out in the open and then add a little plant while I was waiting for my dinner. So that was that one very loose only took about three or 4 minutes, maximum, didn't think about anything. And this one over here, this was just a nice little simple design. Again, using a lot of the techniques that we did in the class, the laydown of that first layer of color, the first fill, and then just going over with some hatching lines, using the same color here and using a different color on top, just to build that texture and visual interest and not have to think about anything. And then finally over here, I've got this kind of, like, a design just with hatching lines and a bit of cross hatching. This is just a great way of kind of exploring kind of different methods of laying down the color and just producing more of a funky look. So try that out if you get a chance to do this. And that's it for the kind of small pieces of art that I do using these markers. They're so versatile. This type of card that I've done them on is just standard normal card. It's not even watercolor paper, and you can see it at the back. None of it's bled through. I've just done the basic layers and the basic texture work that we did in the class. Okay, let me now show you some work that I've done with these markers when I've spent a little bit more time on them. So not doing quick sketches and quick doodles like this on the little cards or like we did for your full sketch over here where we only spent about 20 to 30 minutes maximum on it. This is now taking these markers further in your sketchbook journaling and in your everyday pages. This is one of my mini sketchbook journaling, the Echa one, which I'm sure you've seen before in the previous classes. I'll just go to the page where I've done this beautiful little markers sketch. I know what you're thinking. Oh, that's quite vibrant and quite a lot of detail. But I didn't really spend this much time on it. I'll just show you how the process that I worked on worked with this particular sketch. The initial laydown was of the color, just like we did in the class. So I just filled in shapes that I sketched out with pencil initially, and then I just went ahead and added more layers on with different colors. And then I just did that same process of adding in those hatching lines over here to build out these details. Again, I quite a bit of time on this, probably. I think I probably spent maybe about 30 solid minutes on it, maybe even 40 minutes, but I kind of had the time to do this and do my kind of sketchbook journaling at the same time, and it turned out really nice. I added the shadows in with the gray just like we did over here on our lovely full sketch. But you can see that if you have a bit more time with these markers, you can really produce wonderful results. And this sketchbook is the Echa watercolor sketchbook. This I think this one is the hot pressed. It's not the cold pressed. So the markers worked really nice on it. I did use my O huh markers. So again, even with these sketches over here, the small ones, all of these are done with the O huh marker. I tend to stick to O huh because I just love how they work on different surfaces, and you can get such a wide variety of line weights and applications with them. So that was just an example so that you can really start using these in your sketchbook journaling. And I've got another example in my sketchbook journaling over here. So if I move that one out of the over here, I've got actually this is my coffee shop sketchbook journal. So I'll just quickly move to the art work that I did the markers in over here. So this is actually a recent one that I did of a coffee shop that I had a nice little bit of lunch in. So I decided to go ahead and just use my markers. I kept them in my pencil case, so I had a nice little pencil case with me, which I also drew, and I just kept some incliners. And on this one, what I've done is I've gone ahead and put the marker lay down. Uh, first, done the little sketches, and then right at the end, I've done the outline with a fountain pen. And it was so much fun. It was at the coffee shop, easily transportable this medium. Don't have to worry about having water with you or any mixing mediums, nothing like that. Quick laydown of color, and that's it. So pencil sketch, laydown of the first layer of color, building some different colors and textures with those markers, and finishing it off with just outlining with ink. So that's it for the inspiration. I hope it gives you an idea of different variations or how you can use this wonderful, wonderful medium of watercolor markers. Okay, ok now you're super inspired and motivated to complete your class project. So just jump onto those exercises, get your supplies ready, your markers ready, and your paper ready. And you can go ahead full flow doing these quick and easy exercises, only spend a little bit of time on it, and hopefully it will motivate you to take it further. So let's just wrap up the class with some final thoughts, and I'll let you jump onto this adventure yourself. 15. Final Thoughts: Oki doke, welcome back. Let's wrap up the class with some final thoughts. I hope you really enjoyed the class as much as I did. You know, I always enjoy working with art and materials and mediums and I hope you really took on to these quick little exercises that we did in the class. They were nice, short, easy to follow, something that you can do within just one sitting where you don't have to worry about too much or have too many material. What's going on in your head. You can just get on with it, get your lovely markers ready, get your paper ready, and just work your way through those exercises. You don't have to split your day and do different parts at different time, go through it in one session, the exercises and that mini sketch that we did and that lovely, full sketch using the reference picture. So I hope you really enjoyed the process and I hope you've gone ahead and uploaded your class project to the class project gallery do remember to leave a review on the class when you're done because this will help other students find the class and learn from your fantastic experience. Do follow me on social media, on Instagram because I'm constantly posting all the work that I'm doing, the adventures that I'm doing, and even maybe you might get some sneak peeks into what I'm doing for the next class. So do keep an eye on that. Remember, Art is all about relaxing. You don't need to stress or worry. Thank you so much for taking part and building this community. And thank you so much for your support in helping me produce classes like this because without you and your support, I can't produce any of these classes, and I can't spend this quality time with you. So carry on with your wonderful sketching habit. Use those traditional mediums. Always relax, don't stress. Don't worry if the marks aren't working the way you want them to work. Just keep going. Try it again the next day, add another interesting doodle in your book the day after. Just keep the momentum going forward. So stay focused, stay in the zone. Don't stress and don't worry about anything. Remember, we can't control everything, but what we can control is art, and we can control what we draw and sketch and write. So focus on the things that you can control in life and use art as a medium to help you with your well being, relaxing, and just taking every day as it comes. Take care of yourself, stay healthy, enjoy your art, keep up the habit, and I'll see you on the next one. Peace.