Another Monday rolls around, bringing with it a whole new week of possibilities and colour! It seems much better when you look at it that way, right? Positivity through colour! This week I’m addressing a topic that I know many of you have been hoping for: Pleats and Folds. I have used Copic Markers for… Continue reading Marker Geek Monday: Copic Pleats and Folds Step by Step with Colouring Video

Wild flower rubber stamp for birthday cards, boho wedding stamp, blossom flower, journaling decorative ephemera, watercolor embellishment Hand carved stamp to create a cool pattern on any surface. Perfect for fabric, notebooks, post cards, thank you cards, envelopes letters and everything else. Good finish to your snail mail, scrapbooking or project life. Great as a gift for crafters and paper lovers. Diameters 8,2 x 6,8 cm. Other size can be made upon request (custom order). If you are not sure whether you want a stamp mounted on wood or not, buy a mounted stamp and write in the comments to the order - do not mount for me. You will test how to make prints without a block, and if you will stick, you will stick the stamp to the block with white wood glue. Made by me in a clean, smoke and pet free studio. All my stamps are unique made with attention to detail. The stamp you recive may very slightly from the picture shown in the listing, such is the nature of it being carved by hand. All my stamps must be tested to ensure that the imprint is just right so a slight ink stain is normal. This does not affect the quality of the stamp. Made to order - production time + estimated delivery days I'm using 06-0,8 cm thick rubber. It is not necessary to wash stamps. Just reprint the stamp several times until the ink stops leaving a trace. If you want clean do it with moist baby tissue. Don't be suprised if your stamp takes on colors from inks. This is normal and will not affect. Never scrub or wipe your stamp. I will be happy to create a combine shipping of my stamps and prints so do not forget looking round my shop for the other stamps. Shipping cost for multiple items is the same! I will love to se what you do with them! Add me on instagram when you publish work with my stamps @szczepanskaewa_ Thank you for visit my shop! Please contact me if you have any questions! Ewa

You do not have to be a genius to make beautiful Copic Marker blends! Coloring with markers is a skill. Good news because if it's a skill, that means everyone can learn to color well with Copics. But there is a learning curve-- and how quickly you progress depends upon your ability to diagnose the

Learn to create amazingly realistic Copic Marker or colored pencil art by glazing color rather than blending with color combinations. Professional illustrator Amy Shulke shares her color palette and photorealistic coloring, explaining how she selects and layers color using fine art methods instead o

The Fence Technique is an essential Copic Marker stroke, something instructors rarely teach and yet it’s key to clean margins, no-line coloring, and even coloring your own drawings. Coloring Basics is a new beginner level online class which explores proper technique and how to troubleshoot your stro

Marker drawing doodles are a fun and easy way to unleash your creativity and relieve stress. Whether you're an experienced artist or a beginner, marker drawing

It's been a while since I posted on here, but that isn't because I've simply been hiding out. This Saturday, April 28th I will be teaching two Coloring Flowers classes in Salem, OR at Runaway Arts & Crafts. Spaces are still available! These are perfect beginner classes and are pulled directly from my book "Coloring Flowers with Copic Markers." Come join me! In the meantime, I have been drawing and coloring a wide range of beautiful images. I'll post a few just to give you an idea. These are more of my complex drawings, so I won't go into the colors used, as it was way too many to keep track of! This iguana took forever to color, as I started with a base range of blended greens and other shadow colors, then I added the individual scales with a colorless blender. Between the blender dots I added extra color enhancing specs with yellows or darker greens to just make the scales pop a little more. This bright red stag beetle was a test of a paper someone had given me. At first I liked the paper, then I decided it wasn't my favorite, but it took me coloring for a few hours to figure out what I didn't like. I made the shine on the beetle pop by working with a wide contrast range, from super light working into the darkest tones. You can really see the sheen on the shell by keeping the high contrast. Then I finished by adding thin white touches of Opaque White with a brush. Have a creative weekend!

What's the secret to blending Copic Markers? Does paper matter? Find out these answers and other Copic Marker secrets that self-taught colorers never hear in this guest article from Amy Shulke, including the truth about the right paper for blending, Copic marker nibs, blending myths, Copic color combinations and more!

Learn how to color skin tones with colored pencils or markers with these 10 video tutorials. Learn new blending techniques and handy tips for coloring skin.

If you don't want to miss any updates to the Color Combos Sheets sign up to receive them via email. Enter your email address: Deli...

I wanted to share some of my favorite Copic combinations for skin and hair with you. Please feel free to print this out, link to it, and sh...

Keith Flint paintingMixed techniques (pen, pencil, Copic markers and Molotow acrylic paint) on paper 29,7x42 cm 11.69x16.53 inches (A3).Original artwork is framed, signed and comes with a certificate of authenticity.Returns and refunds do not apply to any original artwork sold.

You don’t need a new Copic Marker or colored pencil class for everything you want to color. Good techniques add up! Color a Pretty Peony using techniques from an intermediate Vanilla Arts class on complementary underpainting plus an advanced shading class. Combine your classes for amazing realism. P

What are Copic markers and why are they so expensive? This Copic beginner's guide will teach you the basics of getting started with these popular alcohol markers. Learn the types of Copic markers available, how to decode the Copic Color System and how to choose the right paper for your coloring.

I have been working on this for some time. I am a visual person and I have accumulated lists and lists of Copic blending families from my favorite guru's but, never could visualize them. One day I was in my LSS... Be Creative in Pitt Meadows, B.C. and Lisa Strahl had hers there. I thought what a wonderful idea! So...I began. I started with 4-1/4 by 5-1/2 but the pages were going to be too small and the book would be too thick so I started over and went with half-sheets. I decided to use my stock of Gina K Pure Luxury as: 1) I was not a fan of the paper (I know people rave about it but, I have way too much trouble blending on it) and 2) It was nice and thick with no bleed-through to the other side....perfect for my book. I got all the paper cut to size, my binding coil at hand, my Cinch ready to bind and I picked up a sheet of heavy-duty acetate/mylar stuff...cut it in half and it was perfect for the front and back protective covers. I started at the internet with digital clip art. I could have stamped it all but, I am such a newbie at stamping and there were so many images to do....I decided to go with digital instead. I searched until I found the images I wanted to represent my swatches....blank faces, hair, flowers, leaves, etc. I created my templates and printed off all my pages.....sat down one night with my Copics and colored the pages in. I split each section by color and representation. I was not concerned with the actual representation of....say a leaf or a barrel but, with the laying down of my color blending families. I am really, really happy with it. I can sit down now...open the book...look for a color family I want...see the main color, the highlight and the shadow....grab my markers and color. No more guessing! Have a wonderful day!

COPIC COLOR SYSTEM Our iconic Copic Color System is a systematized chart Copic Color System - COPIC Official Website

First of all, I want to congratulate all of you who thought about my challenge and are going to step up this year to making your own doodles. Doodling is a very key ingredient to even the largest, most complex works of art. Before I get into cross hatching some more I have a little business to cover. Copic Certification, Anaheim I am opening my class on Friday, Jan 23 up to the general public. Anyone who can come is welcome for the 23 only. Cost is $120 but you get about $80 worth of product to keep, so it ends up being a really great deal for an all-day class. Send an e-mail to Kris at [email protected] or call her at 866-662-6742 to register. There are only a few spaces, so call right away. Applications for Spring East Coast Venues will be going out next week, so get on our mailing list today! This includes Florida, New Orleans, and any confirmed locations that SallyLynn will be teaching on the East Coast thru March. Tonite I will be giving a free lecture at 6:30 at the Eugene Public Library on the History of Manga and Manga trends in America. This is appropriate for teens or adults. I want to thank all the people who attended my teen workshop on drawing Manga earlier this week. The class was very full and very fun! I'll probably be teaching some more local classes this term, so look for Fine Art/Architecture workshops through DIVA and maybe another teen Manga class during school vacations at the Library. Now, let's start the New Year by stepping out of your comfort zone and drawing something yourself- simple cross hatching. Cross Hatching Basics In my post a few days ago I talked about what cross hatching is and what it is trying to accomplish, today I'd like to get into technique. Cross hatching is both very simple and very tricky at the same time. The idea is easy, you draw lines and they make something look shadowed. The tricky part is practicing to keep a steady hand. Drawing short lines will be easiest at first. Don't worry about making all the lines perfect, that will come with practice. Practice by doodling on anything handy. This is an exercize, not life or death, so relax and know that it's OK to make mistakes as you learn. First, find an angle for your artwork that feels natural. For me, I am right handed and feel most comfortable making strokes that are straight out from mu chest, but with a slight right slant (1). To get another angle to my hatching I need to turn my paper so the lines I draw will be facing that same comfortable direction (2). Then, you need to practice, practice, practice. Try drawing lots of little areas that are cross hatched. You can do this with a mechanical pencil, you can do it with a cheap ballpoint pen, whatever you have handy, just try drawing hatching marks. 2 Layer Cross Hatching Technique You need to practice putting marks that line up. It is easier to make the edge that you start from even, and let your pen gradually lift up at the end of the stroke. Turn your paper so that when you are adding the marks, the crisp edge feels natural to your hand and you work from the edge, out. When you come back in to add the second layer of hatching, also work from the starting edge out, or it looks a little strange. Notice my example. The trailing edges meet up nicely and look smooth. The second example looks strange because one trailing edge fades, but the other is crisp. If I were filling in an area between two outside lines this wouldn't matter as much, but on an open area it doesn't work. Practice until you can confidently add hatching that meets up with a line. Soon you'll be adding hatch marks to all sorts of things (squares on reports, lines on your notepad). This sort of doodle practice is very important to build relaxed, natural hand-eye coordination. NO STRESS! Why should you draw and doodle if it's going to be stressful? relax. Inking Pen Hatch Marks I'm usually making cross hatching on artwork that needs to be scanned in, so I tend to work with 0.1 or 0.05 mm multiliners. I made the mistake once of doing a large, beautiful, very detailed illustration with cross hatching in a 0.03 mm pen. When I scanned it in, the hatching was too fine for my scanner to pick up, particularly since I had to shrink the final artwork. All my hard work cross hatching was wasted! Now I draw slightly thicker and not quite so detailed. As you can see from these examples, there are lots of looks you can get from each pen size. When I draw, I work with a couple sheets of paper under my work at any time. This gives me a slight cushion so that I can push harder to get thicker or thinner lines from the same pen. On fine sizes like the 0.03 or 0.05mm pen, I would NOT push hard however. Those tips are sturdy for what they are, but they require a very light hand. Most people can get fine enough lines with a 0.1 or 0.2 mm inking pen. Look at how much thicker the 0.35 looks when compared to the 0.03 pen. The 1.0 pen looks really clunky and thick next to the finer sizes. I would probably not use the 1.0 by itself for hatching unless I were working on something very large and not too detailed. If you look back at the examples of the different pen sizes you'll see how layering once, twice, and a third time gives you progressively darker tones. You can always layer different pen sizes to get even darker tones. Here is an example of regular cross-hatching, with a 1.0 pen thrown in to really darken up the final edge area. It doesn't look so clunky when layered like this, unlike when it is used by itself. The circle really looks dimensional and shadowed now. For my final example today I've taken a simple chair from Lockhart Stamp Company and I want it to look like it came straight out of my old Alice in Wonderland book. It's so easy to make this chair look more detailed than it really is. I know that if I make a mistake I can always stamp it again. I'm using a really fine 0.05 mm pen because the picture is so small, but you could probably use a 0.1 or 0.2 mm pen and it would still look OK. I start with the first level of shadow in the areas I know will be darkest, then I come back with a second level. Now my chair looks like an antique illustration from around 1900, not just a nice garden chair. I know Karen won't mind if Alice comes and sits in this beautiful vinatge chair. Look at your own image collection and see which ones would look cool turned into vintage drawings simply by adding a few lines.

Hello Everyone and welcome back to another Copic Oz Tutorial! This week marks the beginning of a series of posts designed to inspire you ...

Dit is een digitale print op 250 grams poster papier. Afmetingen: 30 x 40 cm. Voor andere formaten, materialen en maatwerk kunt u contact opnemen met [email protected]. Passion for Art support kunstenaars, kijk ook op onze website: https://passionforart.eu

Learn how to color skin tones with alcohol markers in this video and detailed guide! Learn how how to find the right colors for a variety of skin tones, use reference photos, and how to color in a face step-by-step.

It was nice having a bit of a vacation, but it's back to the grind again. Today I wanted to talk about coloring simple pleats in fabric. Before I start I'd like you to review this post from last Fall on coloring pumpkins, since the wrinkles on pumpkins are similar to the pleats on a skirt. To correctly shadow pleats we are combining the technique for wrinkles on a pumpkin and coloring a cylinder. As we get into more complex shading we will be combining more of the basics, so be sure you've reviewed all the old shadow posts. Simple pleats I consider this a beginner technique because it is still pretty easy to understand, as long as you color in the right order. When working on coloring draped fabric, keep a couple things in mind: • Always color in the direction of the wrinkles- this helps use the natural streaks of the marker to accent your layers of cloth. • Work light to dark- it's easier to darken shadows than to leave highlights. • Crisp folds will leave crisp shadows, softer folds will cast softer, less defined shadows. First, I am coloring this pleated skirt (or tablecloth, depending on how you look at it) as if it were a basic cylinder. I am starting with R83 as my lightest color in the shadow sequence (if you don't understand how I choose colors, view this post). I pick where my light is coming from and I leave that side lighter and darken the other side of the skirt. Right now I'm not really worrying about the wrinkles in the fabric, but see that I am leaving white areas on the first and the second wrinkles. These stick out more, so they will get more light. Note how flat the picture looks when you only use one color. I know I have said this before, but the more colors you use, the more things will look like they pop out from the page. Now I can add my next darkest color, R85. Again, I'm not worrying too much about the wrinkles, except for leaving a few highlights of the lighter pink. Already with 2 colors my object doesn't look so flat, but the pleats aren't showing up much yet. If you look at the one wrinkle in the middle that I have darkened a bit you will see just how much it seems to pop out more than the other fabric wrinkles. Eventually all the wrinkles will jump out this much. Next I add my darkest pink, R89. Since this is my deepest shadow I need to start being careful about where I add it. Each time I add a darker color I am layering it on in feathered streaks from the edges towards the middle, along the wrinkle lines of the fabric. This looks more natural and the feathering keeps my edges soft, as these wrinkles are gentle. R89 is added only along the back edge of the shape and in the darkest wrinkle at this point. Now I look at my shape. Not bad, but I really want to pick out those darkest shadowed areas on the pleats. So I go back one last time and darken all the shadows between wrinkles. The first wrinkle is an area I colored with R83, so I darken it with R85. Same with the second wrinkle. The 3rd wrinkle is an area where I was switching between R83 and R85 so I shadow with R85 and touch of R89. My last wrinkle will be the darkest, so it is made with R89. If you compare the last two steps, do you see how much more the final example looks 3 dimensional? Shadows are the key to making an object pop off the page. For my final artwork today I colored the pleats on this cute cheerleader that I drew with a 0.25mm Multiliner SP on color laser copier paper. It's easy to tell where the light is coming from in this picture, and you can tell that the skirt curves around her waist, and that there are two layers of fabric. Look at the close-up of her skirt. One thing that I did differently is that a cheerleader skirt has very flat pleats, that are crisp on the edges. If you look closely at the shadowed areas you will see that I added an extra dark shadow line where the top pleat overlaps. This shadow line is very crisp and sharp, because the shadow created by the flat pleat is very crisp and clean. Our other skirt had much softer pleats, so I did not need to add this extra dark shadow, rather, I wanted those to be very soft.

Here is a very simple technique for rendering bushes, and can be applies to trees, or other plants. I use this technique more for bushes that are in the background, that you don't want to stand out or don't need much detail. Coloring Simple Background Bushes 1. Start by picking 3 colors. One nice thing about greens is that on a plant you don't need to be as careful about following the Natural blending family, as long as you have a light, middle and dark that aren't too different. Leaves in sunlight tend to look more yellow and bright so I usually pick a light YG in the 00's or 10's with a last digit of 0 - 3 for my highlight, and shadows tend to have more gray, so I go with a G or YG in the 60's-90's with a last digit of 7, 8 or 9 2. Think about the plants around your bush. If your bushes are exactly the same colors as your grass they may look a little strange, so I try to vary the two (I talked about coloring grass earlier). Have some bushes lighter and some bushes darker so people can tell they're not the same kind of plant. 3. Choose a highlight. Usually on top or slightly off to one side. 4. Begin Coloring There are few main ways I do bushes, but the ways I'll cover today are Smooth, Scribbling, or Stippling. The main thing to keep in mind is that bushes are irregular. Individual leaves pick up the light from different directions, but if you try to carefully draw every single leaf on a bush you'll go insane. So my methods are for simple coloring that gives the illusion of complexity without the hard work. Smooth Color with your lightest color first. For smooth blends, layer your next color while the base is still wet, add your next darker color, color back over the edges with your light color, then add your darkest color, again going over the edges with your middle and light colors until the edges disappear. For crisp edges between color layers let each color dry completely and don't go back over the edges with a lighter color each time. Too bad this doesn't look very believable- it's just a smooth lump of green, not really a bush. Scribble Scribble the base color on, since the uneven coloring helps accent the roughness of leaves. Then layer on your midtone, again coloring unevenly, and last add your dark. How much or how little of each color is a matter of personal taste. I like this method because I can leave some spots of white- areas that act as natural highlights, and it's much quicker than smooth coloring. Stippled Dot on your lightest color, leaving lots of white, Add dots of your darker color, and finally finish up with your darkest color. If you are using a Ciao or Sketch marker this is the easiest technique, and you have two options. You can have either round dots by mushing your tip straight down, or you can have individual leaves by using the side of the brush marker. Note: scribbled and stippled bushes will draw your eyes more than smooth bushes. Why? The crisper lines and bright white spots attract our attention more than a smoothly colored bush. So if you don't want the bushes to attract as much attention, leave less white areas and make sure the base color is more muted. Then the parts of your picture you care more about will stand out more. Remember also that our eyes are drawn to things with more contrast. If you don't want people to focus on your bushes then color them with less contrast. Also, if you color something in front of these bushes that has super smooth, beautiful blends and then you have scribbled or stippled bushes in the background it will look strange. In this case you've lost your continuity. It's like the bushes were an afterthought. Combo Here I want the feel of individual leaves, but I want them to not stand out as much, so my first two color layers are smooth, then I dotted on the darkest green. Now you get the feel of individual leaves, but it has less sharp contrast than stippled by itself. This technique was very quick, it goes with more foreground elements than scribbled or stippled only, and is not as fake looking as smooth bushes.

You do not have to be a genius to make beautiful Copic Marker blends! Coloring with markers is a skill. Good news because if it's a skill, that means everyone can learn to color well with Copics. But there is a learning curve-- and how quickly you progress depends upon your ability to diagnose the

Sketching a few interiors today and thought I would do a comparison between watercolour and markers. Both were done in a similar time frame - ie. a rapid rate. I scanned the base line drawing of the watercolour and then printed it out for the marker version (on bond paper) I use my copic markers in the same manner I use my brush - very similar gesture and movements...but instead of mixing different colours I am madly scrambling to find the new colour, put on the lid of the colour just used and then open the right end of the the new colour (I am using the wedge end on this sketch)

Every paper craft artist has their own preferred techniques and tricks for colouring images with copic markers. In this tutorial I would like to share my methods, hints and suggestions developed through instruction from other artists, reading and a great deal of trial and error. Beccy's List for Success: 1. Start with a good quality cardboard. I personally use Whisper White cardboard from Stamping Up, but there are other brands that work just as well including one produced by Copic. Your cardboard needs to stand up to a fair amount of liquid without pilling or tearing. Don't underestimate how important it is to use a good base. 2. Use a series of colours in the same shade or tone. Copics are made to work together to shade and highlight. The letters and numbers on the copic pens actually represent the colour and the tonal value. You can find lots of information on the Copic site regarding colour sequencing. Using a "collection" of one colour is how artists achieve the best results. 3. Work the shades together until you are happy with the results. You do not have to stop at just one layer of colour, in most situations you will achieve a better result if you continue to blend. If you have a streaky finish, simply add more of the lightest colour, working in small circles to rub the ink together. This ability to work the ink is the reason you want to have a good quality paper that doesn't tear easily. 4. Use the 0 pen (colourless) to strengthen your highlights. Many artists use the 0 pen as an eraser, which does work to an extent but I have never successfully removed all the colour from an error in this way. I find the 0 pen is best for strengthening a highlight or for blending lighter colours together without adding any more depth. 5. Practice! Right, let's get down to business. Colours used in this project: 0, E35, YR21, YG03, YG05, YG07, E25, E27, E29, G12, G14, G17. Identify the position of your highlights by deciding which direction the light source is coming from. I want my light to be in front and slightly above my pear, which means that the highlights will be almost at the top of the pear and leaves. Colour the pear with YG03, leaving the highlight areas blank as in the picture below. I prefer to have jagged edges where my colours finish as I find it blends easier, but that's a matter of preference. Randomly add some YR21, keeping the colour mostly to the bottom of the pear. The warmer colour makes the pear look as though it is starting to ripen. Add a few little "imperfections" to the pear using E35. Once we blend over the top with the other shades of green, these won't appear quite so obvious, but they do add interest to the overall design. Add a shadow with YG05 below the leaf that is covering the pear. Add more shadows with YG05 to the bottom of the pear and around the "waist". Refer to the picture for placement. You can already see how the colours are starting to shape and round out the fruit. Deepen the shadows with YG07, keeping the colour to the very edges of the pear in a narrow strip. Don't take this darkest colour into the lightest green, you should be able to see three distinct shades at this stage. Starting in the darkest green area, blend your colours together using the YG03 marker in small circles. Work around the pear, slowly making your way to the blank highlight areas, filling them in last to keep those areas of the fruit lightest. Use the 0 blending pen in small circles over the highlight areas to strengthen the highlight and add further dimension to your pear. Use E25 to colour the branch and down into the spine of the leaves. Don't bring the colour all the way to the end, but don't stop it abruptly either. It will look better if you have a little of the brown mixed with the green. Refer to the picture below. Add shadows to the branch with E27. Make sure you darken areas that are behind other things or in crevices. Use E27 to colour the core at the bottom of the pear. Add the darkest shadows to the branch and core of the pear with E29. I generally don't blend branches or tree trunks as I like the rougher look, but you can if you prefer by using the E25 marker to blend the three different browns together. Colour the leaves, including the stems, with G12 leaving the highlight areas blank on the top two leaves. We want the back leaf to be slightly darker to give the impression of depth. Darker colours recede while lighter ones come forward. Add shadows with G14 keeping the topmost leaf lighter than the others. Now add the darkest green G17, again keeping the topmost leaf lighter than the others. The back leaf should have the most amount of shadow since it is behind the pear and the other two leaves. Let's add some imperfections to the leaves using E27. Blend the leaves by working in small circles with G12, starting in the darker green areas and finishing in the highlights. You can use the 0 blending marker on the leaves if you would like to strengthen the highlights, or the G14 to strengthen the shadows. I hope this tutorial has been useful and has given you some tips for using your Copic markers. Keep in mind that everyone uses their markers in a different way and that what is good for one artist may not necessarily suit you.

Eccoci qui, con l'illustrazione dell'altra volta, in QUESTO TUTORIAL . Una volta fatto ciò che non era texture (ma non è un ordine di c...

Back by popular demand. This was posted several times here on my blog, but it has been requested a million times that I repost.. so here it is.. hope it helps. Remember! people are often intimidated by coloring images that have faces. LOL.. it's just paper, if you mess up there is usually a round bin near by to toss it into and start over..... the only way you will bet better at coloring anything is to practice.. trust me, many of my images get tossed to the round file (needs emptied quite often...LOL). Hugs, Jennie

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