Hi sweetie! I need to ask you 2 questions. One what kind paper do I use for Copic markers and two how do I use a color blender? Thank you! Have good night or morning!
Hello dear anon~
Copic marker pad is really great for copic markers since they’re bleedproof or you can also use normal copy paper [100gsm] as copic blends pretty well on smooth surface.
As for colorless blender, they are not really for blending. It’s more like fading or removing the colors instead. So, they work best for texturing or lightening your ink mistakes. Please see the attached image for more tricks and tips that can be done with colorless blender.
Lately many people have been asking me how to create a space nebula effect with markers. The process is relatively simple, but it’s not easy to explain simply with words alone. So in this walkthrough I’m going to show step by step how it’s done.
First things first. This is the list of supplies I used. -Strathmore Mixed Media 5.5 x 8.5 sketchbook -Pink and White Colored Pencil -White Gel Pen -13 Copic Marlers (12 colors and a colorless blender, which I’ll explain how to use later.) I should point out now that you aren’t required to use the exact brands I used to create the drawing. I use these materials because they’re what I’m most accustomed to.The techniques I demonstrate can be done with whatever markers and paper you’re comfortable using. What matters is that you understand the technique because when you do you can apply it to anything.
I begin by making some abstract cloud-like shapes with E50 (Eggshell), which is a very faint yellow. There’s no pencil sketch here because space nebula (as well as atmospheres and natural landscapes) can be easily created by layering abstract shapes on top of each other.
Using Y21 (Buttercup Yellow) and G20 (Wax White) I basically repeat the first step. Still working very light. I realized after the fact that Buttercup Yellow was a bit too intense for this drawing so I stopped using it there. This is why it’s important to have a sheet of scratch paper nearby to test out colors before you apply them. Because once they’re down, they’re DOWN.
Next I use R20 (Blush) to start defining the shapes of the gases in the nebula. Then I go back to Eggshell. It’s probably hard to see what I did here, but I used the brush tip end (on its side) to swipe inward, from all sides, towards the center of the nebula. The reason being is that the brush tip is more saturated than the chisel tip. This helps intensify the lighter shade of yellow that’s already on the paper. If also makes crossfading colors easier because the sideways swipe motion creates a soft gradient that tapers towards the edge. I’ll use this technique multiple times throughout the drawing..
Now with B000 (Pale Porcelain Blue) I layer over the gases in the center while working my way outwards. Again I’m pulling my strokes inward because I know the surrounding space will be deep blue and I want the transition to be a smooth one.
With E04 (Lipstick Natural) I’m finally beginning to put in some of the darker colors. At this point the drawing sill looks like a random mess. Sometimes you’ll get the urge to rush and make the drawing look like something, but you have to be patient and take your time.
Using B32 (Pale Blue) and R20 again, I’m going around the nebula detailing and adding layers of color. I’m also leaving some white spaces which will later become stars. My Pale Blue is actually beginning to dry out, but here in able to make that work to my advantage because it streaks from the chisel end create a dry brush effect which helps add to the glow. The nebula portion of the drawing is beginning to take shape.
Working my way around the perimeter with Pale Blue. From here you can see the importance of working light to dark. Build your colors gradually and avoid the urge to go too dark too early. You want to have room for error and you don’t want create more work for yourself.
With B04 (Tahitian Blue) I fill the surrounding space completely. I’m not too concerned with trying to get an even layer because I know that I’m going to add darker shades of blue next.
Here I used B00 (Frost Blue) to start cleaning up some of the edges around the nebula. I also used BG15 (Aqua) to add some pockets of color in the surrounding space.
Adding darker layers to surrounding space with B14 (Light Blue), which surprisingly a pretty dark shade of blue. Then I used B97 (Night Blue) to add the last layer, which is the darkest layer in this drawing.
Now it’s time for the final details. 0 is the Colorless Blender. But it’s not necessarily used to blend. Instead it almost acts like an eraser because the ink pushes colors away when you put it down. Because of this I generally don’t use it. But it works great for things like water, landscapes and atmospheres. Or in this case, space in which I used it to pull out highlights in and around the nebula. The colorless blender is odd, but it occasionally has its uses.
This is the final step and my personal favorite. Highlights and small details. I used the pink and white pencils to color around the edges of the brightest stars to make them look as if they’re glowing. Then I used the a white gel pen to color inside those stars to make them shine and pop off the page.
And here’s the finished drawing. This was hastily put together, but hope y'all found this to be informative and easy to follow. I’ll try to do more marker walkthroughs on different subjects in the future. Until then thanks for all your support and encouragement!
they aren’t always so humorous (to me) but they are pretty weird??
there’s this one dream that i remember, and that i was running from someone along with like people i didn’t know but i knew them?? Anyways there was the concrete wall that we were running for and there was a good 2 ½ feet part of the bottom of said wall missing. so we ran under it and for some reason i got stuck. I don’t remember some of what happened next, but all i know is that we got in a boat and started burning the fucking ocean.
then after all of that i remember getting a copic marker.
Please ignore where I took the photo. It is the only place with decent lighting in my house. What matters is that I drew best champion. Steven is great. I lost my colorless blender halfway through coloring, but it’s okay, I bought a refill.
okie doke so some people have wanted to see my copics for a while so here ya go ✏️⛅️ the top are my mainly non-skin colors and the bottom ones are mostly from the skin tone pack. The farthest left marker in the bottom picture is the colorless blender (a gift 2 this world)
I’ve continued playing with my Winsor & Newton alcohol markers (including the colorless blender). I misted the page with rubbing alcohol and when it was dry, wrote the lyrics with the TWSBI Eco Broad fountain pen and Noodler’s Bernanke Black ink.
Everybody here is a cloud And everybody here will evaporate ….Have you found where your place is? -Cloud Cult, “Everybody Here is a Cloud”
Hi! I have a question on technique, if you're willing to answer it. I admire your work, especially the sort of cheeriness you bring to everyday food things. They're not just *food*, they're also fun. So I was inspired and picked up some colored pencils, and I realized I have no idea how you get the intensity of color you do. I can do individual lines that are fairly deep, but big washes come out, well, washed out. Any tips?
Yes, this is definitely a challenge with colored pencils. There are lots of ways to approach it but the short answer is that it takes time (i.e. layers) and some intentionality with how you lay down the pigment (i.e. the shape/size of your marks).
If you want to achieve opacity using only colored pencils, you’ll need to start with lighter layers and then add progressively heavier layers on top. Try to keep your marks small (think tiny swirls or crosshatching) and then once you’ve built up enough pigment, you can use a colorless blender or a colored pencil to burnish the layers. In this process, you’ll essentially flatten the texture of the paper, pushing the pigment into all the little nooks and crannies.
If you’re open to mixing in other media, you can use watercolors or watercolor pencils to lay down large areas of color as the base for your piece. This tones down the white of the paper and adds depth:
Then, once this first layer is dry you can come back in with colored pencils to add detail, form and texture. For me, this process usually takes at least 5 layers and often more.
For darker values or for areas that I want to be really opaque, I either use gouache, or I layer on lots of colored pencil, burnishing as I go. It helps to use a paper with a bit of tooth to it, since this allows you to layer on more pigment without the dreaded wax bloom that can sometimes happen with colored pencils.
Generally I use some mix of all of these methods depending on the texture, color and values of the subject I’m working on.
Some people have a lot of success using odorless mineral spirits to blend out their layers of colored pencil. This creates a kind of glazing effect and can be really beautiful. Personally I don’t care for this method as it interferes with how I see the color, but it’s worth mentioning nevertheless. Here’s a good Youtube video on the subject (I believe burnishing is covered as well).
finished the study! I was pooling that colorless blender like a mofo. The texture looks silly close up, and the CP give it a crayon kind of look. I had to photoshop the scan a lot to look like the original (bottom right), but altogether a fun draw.