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.
My Inktober Tag | Day 11: Prismacolor Crimson with Viraes, a dark knight and captain of a famous group of dubious war-heroes- and perhaps one of Einnea’s most difficult adversaries.
Tools: Prismacolor Dark Umber, Black, and the colorless blender. Spectrum Noir BG3 & BG5, Sakura microns, white gelly roll.
This one didn’t get finished yesterday due to moving my sister’s stuff, being out all day, and trying to squeeze in coloring adopts too. (Today’s ink is gonna be very simple!!!) Vir’s armor was sooo intimidating, but it was a fun challenge!!! I really wanted these two to be companion pieces, so I’m glad I took the extra time on her.
1) start with your lines! Remember to be fluid here, keep things organic and rounded. This will help when you start coloring!
2) Now when I color slime I choose to line in color as well as it helps create that “clear” or “jello-like” look later on.
3) I started by picking my color set! I find that having a five color set usually helps me create a smooth, goopy transition with my markers but that’s just me! Now I always start with my darkest color trying to make the centers. Ever have Gushers? Imagine you’re making that. And that’s where all your main bits are going to be. Whether they’re the biggest overlaps in body parts or where your slime’s innards are going to be.
4) Here’s where you start establishing shadows that aren’t primarily due to overlap or innards!
5) Start to round out your shadows and your centers from panel 3.
6) Continue to follow that liquid rounded feeling of your shading. Here is probably where you’ll start to reach the edges of your lines.
7) Finish with your colors and leave your established lighted areas pretty pale.
8) I feel like this could be entirely optional depending on taste but it looks really clean to me. So here I blend from darker colors to lighter colors using my colorless blender. Careful though, depending on how wet your piece is you could have some bleeding really take over your lines here.
9) Fill in any other spaces here! I.E.) clothes, facial details, markings, accessories, etc.
10) I use the Gelly Roll pens for all my high lighting but really a nice gel pen will get the job done. Again, product used is based on artist comfort in my opinion. I also usually clean up my lines in this stage as there was bleeding that occurred in the colorless blending stage!
I hope to do video tutorials in the future, but hopefully this helps out the way it needs to!
The colors I used were from the Prismacolor Premier set and were-
☆Sky Light Blue (I unfortunately could not find the number for this one)
☆PB-121 (my colorless blender)
☆ then black
My liners were from the 20 count Triplus Fineliner set (they’re pretty well priced at Michael’s and Target but at Michael’s you can usually use a 40% coupon on them!)
Then my highlight gel pen was the wonderful Gelly Roll pen! They’re pretty cheap and you can find them at most craft stores and online for about the same price across the board!
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!
Got this piece done finally, smooches included. All-around better than I thought it would be, and it only makes me ship Jerrizzazz even harder. Colored in with Prismacolor brush pens, a Prismacolor soft lead white pencil and colorless blender, the lines were done with Sakura Micron pens.
FINALLY something different from all m’ icon uploads yeh? >.;D M’ tentative squidsona self before I figure out what items I actually really like/unlock in Splatoon 2
I’m lowkey hoping the Squid Girl outfit is part of the game somewhere too cause those shoes were always some of my favorites ;o;
a l s o prismamarkers are such a timesink to use but it felt really fun pulling them out to work with, made some cool looking effect on the ink with m’ colorless blender too~ (though it might be hard to see as just a scan dklsfjhcvskdl)
My two Octo ladies Violet (on the left) and Mandible (one on the right). Nice to be able to give these two some love~
While I love the Chameleon Tone Pens I will never make the mistake again of using them on marker paper. However it was a fun experiment and an interesting technique to do, felt very much like watercolor painting in a way. RIP to the colorless blender however, went through two nibs and is now completely out of solvent :’D
You're so good with markers ? Could you show us any tips of coloring ?
Thank you so much! I really appreciate it :D Markers are really hard to get use to, but it gets easier and more adaptable the more you use them, just like any other medium or style. Here’s a few tips that I learned from others or through experimenting on my own:
1.) Take it slowly. Don’t rush things or quickly scribble color onto areas just because you want to get quick results. Rushed work will always end up looking rushed. Markers are tricky because they dry different colors sometimes, or they get darker the more you go over top of them with the same color(which is a cool trick for some effects or shading if you don’t have a lot of colors ;)) But unless you want to blend them completely together, wait for the colors to dry before going over them
2.) B. L. E. N. D. and layer! Unless you’re going for flat color or a certain look of course. You can use colorless blenders, but I wouldn’t recommend them unless you are blending a color into white. I always blend with the lightest color from that area. Don’t be afraid to layer colors or shades to blend.
3.) For shading: try laying down the darkest colors and shadows first and then progressively making your way to the lighter/highlight color. You’re colors and shades may blend better that way, and you can get cool fur textures by doing it this way because you can use the darker or medium color to draw the fur and then just go in with the lightest color and color over it which should also slightly soften or blend it.
4.) Keep your markers clean and replace parts if they need them. (I’m basing this off Copic markers because they’re what I use, you can’t replace parts on Prismacolor or other ones usually) Use cotton balls and rubbing alcohol to clean any ink off the marker or near the tip, and make sure you replace damaged nibs. You’ll get smoother and sharper lines.
5.) Refill drying markers. (Again, going off Copic brand) Dry markers can smear other ink on the page or line art. Plus they make an awful squeaking noise..
6.) Experiment!!! You’ll never improve if you’re too afraid to get out of your comfort zone and mess around with them a bit. I realize that markers and ink is expensive, but it’ll be worth wasting a bit if it means getting techniques down. This includes experimenting with colors, try to use a hot pink or neon to shade and see what it looks like- usually they end up giving off cool lighting effects~
((Psst, Michael has Vitiligo jsyk. I’ve been thinking about this since I started the ask blog. I just got a colorless blender so now it’s in full action. Not just jumping on a bandwagon. I’ve loved this Michael idea since I heard about Michael!))
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”
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.
I was given a copy of a coloring book page that I really liked, so I used an ever-so-toxic Chartpak AD colorless blender marker to transfer the image to my journal. Colored the image with Ohuhu colored pencils, applied a wash of black Prang semimoist watercolor, spritzed the page with water, and sprinkled kosher salt around but not on the colorful raven. After it was dry and I scraped off the salt, I used a waterbrush to remove excess watercolor from the raven.