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Guest Post: Blue Hair by Brandi York

April 10, 2012

This week, artist Brandi York gives us details on coloring the blue hair of her goblin character. Enjoy!

Last time, we covered unusual, fantasy skin tones with our little goblin. This time, we’re going to look at her blue hair with ringlet pigtails.

As always, I’m using the Bleed-resistant Copic Sketchbook and Copic Sketch markers.

Unusual hair color, like unusual skin tones from our last tutorial, take a bit of experimenting to find the right combinations. Take some time to layer various colors together to find the right combination of lights and darks before starting on your actual piece.

I start with B45, laying in the basic pattern of her hair, my strokes following the direction of the hair. Remember, draw every direction, not every hair. With the brush tip of the Sketch markers, this is much more easily achieved. Go back over it once or twice to help create a bit a definition in the chunks of hair and value as the hair rounds around the head and the ringlets. Start big and work down to smaller chunks. You’ll notice it’s pretty rough, but that’s okay. Our next colors and layers will help refine it down.

Switching to BV23, I lay in some simple shadows, again following the direction of the chunks of hair. Use that brush tip to your advantage. You can get thick and thin lines in one stroke, breaking up the areas nicely.

Next comes the BV25, emphasizing the darker spots of the hair, around the curls and in the deeper chunks of hair. I also go back to the B45 to soften the edges and tie it all in together.

I use a bit of BV17 to add a bit more depth and color into the shadows of the hair, stroking in the direction of the hair. Sometimes adding other colors in the shadows can help create a sense of depth, as well as tie other colors from the piece in, making everything work together.

With a bit of practice, patience and of course, the right paper, the layering will all come together and you’ll have a lovely rendering of whatever your subject, whatever the strange and fantastical skin and hair color may be!

See more of Brandi’s fantastic illustrations on Copic Color, and add your own work while you’re there!

Posted in Copic Markers, Illustration, Techniques, Tutorial | Tagged Copic Markers, guest post, guest tutorial, Illustration | 1 Comment

Talking Street Art with Graffiti Writer’s Block [GWB]

April 9, 2012

Throughout the month we’ll release a series of interview responses with members of New York City street artist group Graffiti Writer’s Block, or GWB.

The idea started after seeing weeks of wildly colorful #CopicART tweets from graffiti artist NoverNYC. (Here’s a colorful Twitter gallery showcasing his recent work.)

We’ve got the whole crew sharing wisdom: NoverNYC, TESKoner, CortesNYC and Viper625.

Viper625

1. How did you get started with art, who were your earliest inspirations for creating artwork?

Viper625: I got started sketching letters after seeing the fourth issue of 12OZ Prophet. I had always been interested in graffiti but really didn’t know how to start. That is when I began to practice calligraphy. From calligraphy I became familiar with letter structures and somehow it turned into graffiti. From then on it’s been letters, letters and more letters.

CortesNYC: I used to admire the art of Mode2, Seen, Simon Bisley, Giger, Dali, Diego Rivera. My art was also inspired a lot by musicians like Eric B and Rakim, Public Enemy, Cypress Hill, Nirvana, Smashing Pumpkins, all that early 90′s rap and rock.

TESKoner: I’ve been into art as long as I can remember, so I have no clue. Whatever it was, I’m glad it happened. As for early inspirations, the first thing that jumps to my head was reading about the Sistine Chapel paintings as a youth. That scale and scope of work floored me.

NoverNYC: I got started with art by drawing from comic books. Owning so many comic books, I was drawn to start drawing, myself. Besides comic books, I was always interested in graffiti. Coming from the Bronx, I was always inspired by graffiti. One person that inspired me to do graffiti was kase2, who lived in the same neighborhood, and I used to watch him paint all the time.

CortesNYC

2. Who inspires you now, how do you stay creative, what keeps you going?

Viper625: There are so many artists that inspire me. Graffiti artists all over, graphic designers, traditional artists – it’s difficult to name them all. I find a lot of inspiration in colorful nature photos and architecture. Nature is a great place to find effects for letters as well as fill color combos. I have been through different names looking for the letter sequence that I enjoy. I believe there can be a balance of crazy detailed letters and creative art. I try to keep moving and not be an artist that has the same style for 20 years LOL (not that there is anything wrong with that). That is what keeps me going.

CortesNYC: Nowadays, I’m inspired by movies, social media, and traveling. I’m very active on YouTube. My channel is a big part of my creative growth. I have a series called GraffTour that documents all my projects, traveling and painting in different states and countries. I have also gained an appreciation for music acts like Pearl Jam, Sadat-X and KRS who continue persevere even after the spotlight fades. Their careers demonstrate the importance of continuing to mature and inspire the next generations of artists.

TESKoner: There’s really too many to list. I feel creativity is nurtured by just sketching every day, and when your not sketching, thinking about sketching. staying in the grind whenever possible. As for keeping me going, its definitely my need to create a better piece than my last. Its such a great feeling when that is accomplished, at the same time, a crushing defeat when I fail. It’s a double edged sword mastered only with stubborn discipline.

NoverNYC: Right now I get my inspiration from so many peple, some are: Totem2, Daim, Peeta. I also gain inspiration from the other members of the group I’m a part of. They all do really amazing work. What keeps me going is how far I can take what I’m working on, what kind of effects I can create. When it comes to graffiti, it’s a form of art you can only get better at over time.

TESKoner

3. What role do black books play in your art making process?

Viper625: Black books/sketch books are the foundation of all my pieces. It is the place where I am able to experiment with styles and ideas that can later be turned into crazy pieces of art. Practice makes perfect.

CortesNYC: Black books are everything to me, they are where I found my creative voice. My father was an architect and he had markers at home, so I learned quickly to use them in black books. It’s where I document my feelings and inspirations. It’s a sacred creative space for me. Growin up sharing space all my life with my brother or roommates, I never had space to paint or create big projects. So, I knew I could escape into my black books and feel like I was communicating on a large scale with the world. No idea was too small or silly to be explored in my black books.

TESKoner: The book is the drafting table, the work out room and the think tank. Its a place to hone your ideas, create new style, develop existing style, and most importantly just to exercise your art.

NoverNYC: Black books are something to keep the edge going, a sketchbook to perfect my skill before I put it onto a wall.

4. Do you consider filled black books stand alone works of art, or part of a larger process?

Viper625: Black book pieces are definitely pieces of art, but they’re just practice for a larger creation.

CortesNYC: To me, black book artistry is it’s own genre. Just like custom airbrushing cars, If black book art is done right, it can leave a stronger impression than a polished canvas. Black books can communicate directly and intimately from author to reader in a way that public street art can’t. Nowadays, I approach my black books like a musician entering a recording studio, and I approach my graffiti walls like it’s a public concert. I don’t put one over the other, I need them both to continue growing as an artist. When I paint walls, I am fueled by the memory of the experience, sharing the time with my peers, the challenge of the scale and working with the environment. Black books are a technical exploration of my ideas. I am working alone, composing layouts, and storing my memories. My books are a resource I can always go back to and revisit easily, whenever I need inspiration.

TESKoner: Absolutely, it’s a work of art just to fill one if you ask me. That alone is an act of discipline – mainly because, by the time I’m nearing the end of a book, I usually dislike the work in front of it. For me, that makes it difficult to even continue the book, it’s easier to just get a new one. I had been writing for a good bit of time before I ever attempted to fill one book straight through.

NoverNYC: It isn’t only a filled sketchbook, but a blueprint to what we plan on doing. It’s also part of a bigger process because for most artists, it’s the foundation of most wall art, where a wall piece might start from.

NoverNYC

5. Have you always been drawing in sketchbooks this way?

Viper625: Yes. Since I started drawing letters they’ve all gone in sketchbooks. It’s just the way it goes. I have had over twenty sketchbooks over the years. Some have been filled all the way while others have only had a couple of crazy 2-pagers. Most of them are out somewhere making their rounds.

CortesNYC: I have many types of black books, I have books filled with doodles and random notes, ideas, scribbles and tags. I have books in which I’ve forced myself to complete ideas and finish entire compositions, page for page. I have other books filled from front to back with life drawing and nude figure sessions all done in straight ink. I have other books that I carry with me on paint tours to have my peers sign and to take notes along my trip. I try to designate a task for each book in order to learn new skills and keep my inspirations organized.

TESKoner: I’ve been writing for 15 years, I’ve filled eight books completely.

NoverNYC: You get better as you progress. That said, I haven’t always worked on black books, but over the years I have filled some. I’ve also put a lot of work in other writers’ black books.

6. Do you do any planning sketches before you start hitting the books?

Viper625: When I start a sketch I use pencil. That allows me change lines as I please. Most of my sketches start as basic letters and I change/erase lines as needed. When I feel a piece is finished I start coloring and then ink it. My sketchbook has tons of messy sketches and notes in it sprinkled with crazy sharp colored pieces.

CortesNYC: I usually just hit the books straight up, sometimes straight with ink. Other times I sketch lightly with pencil and doodle quickly to come to a solid concept. I’ve even tried sketching with my eyes closed, just to jot down a messy idea. Afterwards, I can analyze the sketch strictly for the content, not how it looks. If the idea is still valid, I try to sketch it in a good book properly.

TESKoner: Sometimes I’ll get an idea when I don’t have access to my book, so I’ll start planning it in my head. But most of the time, the sketch evolves in the book.

NoverNYC: The sketches in the book are the planning process before I begin the real work on a wall, that’s where I see what colors work best, and try out new or different styles, such as 3D, wildstyle, or characters.

Viper625

7. Is there anything you’d like to say about the recent increase in awareness about street art?

Viper625: It’s great that street art is becoming more accepted by society as an art form.

CortesNYC: I’m glad that Street art is becoming so popular, it’s a huge change from what I used to experience in the 90′s. I’ve had to get used to the spectators at walls, and the questions from fans. I was brought up in a world of graffiti that was very private and secluded.

TESKoner: It’s not going anywhere.

NoverNYC: It’s great that it’s being paid attention to on a regular basis worldwide. It’s being used by different high fashion designers, and that’s opening doors to all graffiti writers to use their art as a means to make a profit off of their own work, and gain a platform of respect as a widely accepted form of art.

CortesNYC

8. Anything you’d like to say to people who simply perceive street art as vandalism?

Viper625: Meh, good for them.

CortesNYC: I don’t understand how anyone in 2012 would not be aware of all the different types of Street Art/Graffiti. I feel that anyone who is against street art nowadays is just playing devil’s advocate to create controversy. In the 70′s-80′s, New York was truly covered in random graffiti art and other vandalism, and I understood why a spectator would be confused. But nowadays, most major cities have cleaned themselves up and graffiti art has found places to evolve with pop art, muralism & commercial illustration. Graffiti in 2012 looks NOTHING like the scrawled main streets of the 80′s.

TESKoner: Not particularly. People who have those feelings have their minds made up and I couldn’t care less to change it.

NoverNYC: For those who have that kind of opinion, I don’t have much to say. If it wasn’t for the vandalism that started out graffiti, it wouldn’t have reached the magnitude it’s at today, and I myself probably wouldn’t have had a part in it.

TESKoner

9. Do you ever consider your work to be at the cutting edge of typography?

Viper625: Not really. It is a passion, I’m not out to prove anything.

CortesNYC: Some of my graphic treatments and logo style treatments are definitely experimenting with typography. I’ve done lettering for rappers like Jeru The Damaja, Lords of the Underground, Mad Skillz, and Keith Murray. My graffiti letter forms are born out of organic handwriting styles. I mix tags, with serifs and Old English flares. I also warp the letter shapes to become more animated. My graffiti piecing style letters have been described as Metallica-esque because of the razor like tips and arrows.

TESKoner: I don’t consider my work to be the cutting edge of anything. I’m just a humble guy who has this fascination with letters, nothing more, nothing less.

NoverNYC: Yes, one of my main goals is to manipulate my tools of choice to create realistic scenes or effects like 3D, steel, water, rocks, metal, etc.

10. How can an untrained viewer learn to decipher some of the wilder letterforms?

Viper625: Most of the time “wildstyle” letters have more of an abstract letter structure. Sometimes they’re an “idea” of a letter. Try to look at the letter without all the add-ons if possible.

CortesNYC: Just like in any art genre, you have to first become familiar with the movement, and then with the artist’s individual contribution to it. Once you inquire about the artist’s name, then you can begin to find the letter forms. There is a misconception that graffiti is a hidden code. Graffiti is not supposed to be a trick. Graffiti is a genre of lettering, and once the viewer embraces the genre, and discovers the artist’s name and style, they can begin to decipher the letters and appreciate the craftsmanship.

TESKoner: That can be difficult. Every style is different, some more legible than others. I suppose one way would be to acclimate yourself to the art form, perhaps starting a black book for writing graffiti yourself.

NoverNYC: From an untrained eye, it can be visible, for some people it isn’t. The best way to decipher what that work of art represents, you have to take in everything you’re looking at. Its colors, its shapes, the mood it puts you in, or what it makes you think of, as it would be with any other form of art. But it can be taught to be legible.

Nover NYC

11. Do you ever find yourself obsessing over letters, like bending and warping them in your mind?

Viper625: Yes. Before I start a sketch I imagine a basic letter in a way I haven’t done before. Slanted up, down, backwards, etc. Sometimes I get a headache before anything is on the page! I try not to use letters I have done before. Recreating letters will not get me anywhere. Sometimes the first part of the sketch is the most difficult.

CortesNYC: Only when I freestyle off the top of my head. That’s when I occupy my mind with the different letter movement to best fit and interlock the entire piece before even touching the paper or wall.

TESKoner: Frequently. That’s pretty close to what happens.

NoverNYC: Yes, all of the time, that is my goal, to create an individual style and call it my own. That is one of the main concepts of graffiti, to be known individually for our own craft, to bring something to the table.

12. Should people give graffiti writers respect from an artistic calligraphy and lettering design perspective?

Viper625: Of course. Graff artists are letter designers above anything else.

CortesNYC: I have personally applied a lot of the calligraphy and typography concepts that I’ve learned into my graffiti style. I feel non-graffiti artists see the craftsmanship and appreciate technical skill but don’t realize that most graff writers incorporate formal design principles fluidly into their street style.

TESKoner: They’re really different processes, so that’s up to the beholder. Personally, I usually only hold the respect from other writers in any relevant regard.

NoverNYC: Of course, even if you don’t agree with the illegal aspect of graffiti it deserves its respect from all aspects of the lettering or calligraphy perspective.

CortesNYC Art

13. Do you ever consider graffiti writing to be contemporary calligraphy?

Viper625: That is what graffiti is all about – the letters.

CortesNYC: When it’s hand scrawled tags, I can definitely see the expressive nature of their calligraphy.

TESKoner: There are some similarities indeed, particularly in certain handstyles. However graffiti and contemporary calligraphy doesn’t seem like a reasonable comparison to me, just my opinion.

NoverNYC: It is already considered contemporary calligraphy, right now it’s being used in all forms of mainstream art and fashion, fonts being created to look like different types of graffiti styles.

14. What’s the future of graffiti, where is street art heading?

Viper625: I see street art getting more colorful and abstract. Styles will continue to evolve and become more technical. It would evolve a lot quicker if artists would get out of their comfort zones.

CortesNYC: I am guessing it will continue to gain mass appeal and become more corporate. I have never seen so many products and merchandise in the graffiti scene, as i do now. There are so many brands of paint and other vendors clinging on to street art. This new commercial environment is raising up a young crop of street artists that never experienced the old stigma of vandalism or gangs. So i’m looking forward to seeing what the next wave of artists bring to the movement.

TESKoner: (no comment)

NoverNYC: The future of graffiti is heading into becoming something more accepted, it’s heading in the right direction. I hope it opens more doors for graff writers to be able to express their work. I also hope that the future of graffiti is headed into a time where people with a prejudice against street art can understand it and business owners will be more open to having graffiti on more walls.

TESKOner

15. Why do you like using Copic markers in your black books?

Viper625: The rich colors, amount of colors available and they blend easily. Good solid color is what I look for. They are a great tool for any artist. Other markers don’t compare as far as quality.

CortesNYC: Copics tend to leave a smooth coat of rich color where other markers might streak. I love the variety of tones and tips. The brush tip is my favorite for fast marker comps. I’ve been slowly building up my set. I hope to have a complete set by the end of this year.

TESKoner: They’re the best markers I’ve run in to at this point. Refillable, excellent color choice, and the versatility of the brush tip is the icing on the cake. I also love the fact that their shape prevents them from rolling off my table. In short they’re the best, period.

NoverNYC: Out of all the markers I use, Copic markers give me the most control, I get the best effects and illusions out of them. They bleed the least from all the other brands I use. They also have the best color selection I’ve seen. Most of my greatest pieces have been done with Copic markers.

GWB on Tumblr

Find Viper625 here.
Find CortesNYC here, on Twitter and YouTube.
Find TESKoner here.
Find Nover NYC here and on Twitter.

Posted in Artist, Artist Interview, Community, Community Art, Copic Markers | Tagged Artist, Calligraphy, copicart, graff, graffiti, Interview, Letterforms, lettering, new york, NYC, street art, wildstyle | 1 Comment

New Product: Slim Lights!

April 3, 2012

Slim Lights Need some extra light in your studio or craft space?

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Use the Slim Light system throughout your home or office for a wide variety of lighting needs!

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What will you use your Slim Lights for?

Posted in News, Product | 1 Comment

Artist Interview with Paul Hill

March 27, 2012

Paul Hill is a fantastic architectural illustrator based in South Africa. Read on to learn more about Paul and his work with Copics!

Tell us about yourself!
I was born in Birmingham, England in 1971. Before immigrating to South Africa in 1983 I had travelled extensively across Europe with my family. In 1989 I completed a commercial matric at Joubert Park Tech with distinctions in fine art and then completed a diploma in interior design. In 1991 I started working for a commercial interior design company as a part of a young team of designers. I was responsible for my own projects, from conceptual design through to completion. Here I gained experience through working on diverse projects consisting of franchised restaurants, cinema complexes, theatres, car showrooms, commercial offices and boutiques in South Africa.

Towards the end of 1994 I moved to hotel design which consisted of larger hotel projects completed in groups as apposed to individuals being responsible solely for a project. I was mainly given the responsibility for conceptual and presentation work, and occasionally for the technical drawings and details when it came for my own areas within a project. However, on smaller projects such as commercial offices and hotel renovations my responsibilities would extend to the completion of the project. In 1996 I moved to Austria after being approached by a shoplifting company to set up a interior design department within their existing structure of 100 employees. During this time I developed and trained employees in aesthetically designed presentation layouts, elevations and perspectives. We specialized in hotel, resort, restaurant, health & spa design, casino and nightclubs. In 1998 we won our first European Design Competition, which was to design a 5 star luxury hotel in Bayern Germany.

After my contract was completed in 1999, I set up my own design agency in Austria, namely Paul Hill Designers. Besides having my own clients and projects in Germany, Italy, Poland and Austria, I assisted other interior design companies, architects and shopfitting companies with their concept designs. Since relocating to South Africa in 2004 I have been working as a conceptual architectural illustrator on a contractual basis.

When did you first become interested in architectural design?
Funny enough, it was never my intention to get involved with architecture. I was one of those restless kids at high school, getting up to nonsense and not paying any attention to my education. I had to change schools on a regular basis until my parents had no other choice but to take me out of the normal academic structure and enroll me at art college. Art College was awesome. instead of maths, english, geography, biology etc, our subjects were drawing, charcoal, pastels, water colours, oil painting, silk screening, sculpture, fabric and jewelry design. Even though I excelled in art, I had absolutely no idea how to earn money as an artist. I quite fancied woking in an advertising agency doing graphic design, but that was already becoming more and more computer-based, which didn’t appeal to me. I kind of stumbled upon interior design which gave me the opportunity to draw perspectives, build models, choose materials and work out details. Not many people wanted to do the perspectives and I soon found my niche. Becoming more involved in architectural design happened out of necessity due to vague design briefs and ridiculous deadlines. It’s not like you can ask your client every 5 minutes “what’s supposed to happen there?”

What’s the best thing about your job?
To be honest, work is one of those things that most of us have to do. I can’t imagine what it must feel like having to do something day in and day out and not be passionate about it. Having a talent and being able to develop it every day is awesome. When I first got involved in architectural design, getting started with a new project seemed somewhat daunting, whereas nowadays the ideas start as soon as I put pen to paper. I thoroughly enjoy being involved in the conceptual phase of architectural design as my illustrations are used for the initial discussion phase with the client and to get the ball rolling. I also have the freedom to experiment with different rendering techniques, and get to experience a very fun part of architecture before budgets, materials and completion dates are put into place.

What’s the most challenging thing about your job?
The most challenging part of my job is letting go once I have handed over my idea and philosophy to the client. I have had to accept that my illustrations are used to sell an idea or concept which is not influenced by reality. However I am a firm believer that even though both good and bad design costs money, it is still possible to interpret a good idea and process it without exhausting the client’s resources.

Why did you choose Copic products for your illustrations?
My first experience with Copic markers was at art college. During our first year, one of the students in our class had somehow managed to get a freelance job rendering an interior perspective for a supermarket. With this, our lecturer decided that while helping our classmate it would be a good opportunity to show us various rendering techniques. Needless to say we were all fascinated. It was, however, only once I started my first job as a junior interior designer that I really got into using them. At the time most of the other employees showed more interest in designing as apposed to presentation, and this is where I found my niche. Over the years I became more and more involved in rendering plans, elevations, ceiling layouts and perspectives, until finally being responsible for design.

Do you prefer traditional media over digital?
It seems crazy that at the age of 40 I have started to appreciate what computers are capable of. I mean, it was only 6 months ago that I finally started creating an online portfolio and blog. Over 18 years of my illustrations are in other companies’ archives. I have to admit that even though I do my fair share of colour renderings, my favorite style of illustration is in black and white with Multiliners. It’s a strange phenomenon, but only once I have constructed the initial illustration do I know whether to render in colour or continue illustrating with lines. Funny as it may be, but the drawing lets me know how it wants to be completed. I have tried to ignore this, but never successfully.

I have a huge respect for digital illustrations, and have started to explore various rendering techniques in Photoshop over my hand drawn line work. The possibilities are endless and the end result quite unique. Recently I discovered Autodesk Sketchbook Copic Edition for Mac and was blown away with how realistic it renders, and will be trying this out in the near future.

What are you working on right now? Any personal projects?
This year has proven to be somewhat different from the previous years, in that I have become more and more involved in the urban development of projects instead of the artist’s impressions. So far this year I have been involved in various hotel and resort designs, nature reserves and mall designs throughout Southern and Central Africa. I have also assisted on the interior design concepts for hotels in Austria, Germany and Italy, as well as working on local landscaping projects.

Favorite band or musician at the moment?
I live for progressive trance and preferably not the commercial stuff. My favorite producers at the moment would have to be Markus Schulz, Lange, John OO Fleming, Above and Beyond, Kyau and Albert as well as Alex Smoke. On occasion I also enjoy Depeche Mode, U2, Linkin Park, Red Hot Chili Peppers and Foo Fighters. The list goes on.

Any words of advice for new artists?
Start your composition by breaking down each component into the primary shapes. As soon as you are happy that everything is where you want it to be, start adding detail into the individual components.

Always build your drawing up evenly and don’t be in a rush to overdevelop a particular part. Be patient. A lot of your ideas will come as you are weaving your way around the composition for the entire illustration.

Towards the end of the illustration it is easy to get a little restless, but this is where the difference between an awesome illustration and a normal drawing is most visible. Just remember to dot your I’s and cross your T’s…

Find Paul on the web:
Portfolio: paulhillillustration.co.za
Facebook: facebook.com/pages/Conceptual-Architectural-Illustrations
Twitter: twitter.com/PNHIllustration

Posted in Artist Interview | Tagged architectural illustration, architecture, Artist Interview | Leave a comment

New Product: Line Art!

March 22, 2012

Love coloring more than drawing? Great news! Our new collection of line art is now available in our online store. These images, printed on high-quality paper, are ready for markers – so color your heart out!

Check out how our product specialist, Marianne Walker, colored this adorable puppy:

Puppy Line Art
Visit our online store to see our full collection of line art, just waiting for you to add your creative touch!

Posted in Copic Markers, News, Product | Tagged line art | Leave a comment

Guest Post: Goblin Illustration by Brandi York

March 20, 2012

This week, artist Brandi York walks us through a fantasy illustration with Copics. Enjoy!

For today’s demonstration, I thought I’d let my geek flag fly a bit and do a rendering of my World of Warcraft goblin, pushing myself to try a realistic approach to a truly fantasy subject.

As usual, I’m using Copic Sketch markers with the bleed-resistant Copic Sketchbook paper.

I start by picking out my colors and trying them out on a scratch piece of paper. This may take a bit of time, going through and trying out all these different greens, yellows, purples and reds together, but you don’t want to jump in and just start throwing color down without making sure everything will be harmonious, especially where the opposing colors are concerned (yellow and purple, green and red).

After I’m reasonably satisfied with the colors I’ve chosen, I start by laying in a base of YG21 over my lightened pencil lines. I go back over it a few times in spots, defining out some of the shadows for later. I also use R30 to lay in a little pink on the nose, lips, and the tips of the ears:

Next I break out the YG23. Despite being the same family of colors, it’s quite a bit darker. I use the YG21 to help smooth the transition, but I’m not happy with how warm the shadows are at this point. I take some time to lay all the base shadows in before breaking out the trusty BV23:

With the BV23, I start to knock back the deeper shadows, again using YG21 to soften the transition. It’s pretty drastic when you first bring that BV in. The first response might be, “Oh no, too dark!!” Give it time and finish it out. Once you get all the shadows laid in with the BV23, you’ll see how much the piece begins to pop. Using your two skin tones (in this case, YG21 and YG23) helps to soften and tie in the BV23. Use them in conjunction, softening the hard transition between the tones:

I drop in the eyes, a little E42 for the not-so-white whites of her eyes with BV17 and BV11 for the irises with a bit of 0 Colorless Blender to soften the transition (these colors will also be mirrored in her hair and gown, to help tie the colors together.) I also dropped some of the E42 onto her lips along with a little more R30 and YG93 to darken them up a bit:

Time to darken the shadows further! Now that the colors are all starting to come together, the earlier panic of the BV23 being too dark is a long-gone memory. Now in some places, the shadows aren’t dark enough or well defined enough. Out comes the BV25 to deepen the darkest spots – under the chin, in the ear and nostrils and the edge and corners of the lips. At this point, I’m also going back and checking other areas – the stomach, the arms, places that might not be melding as well with the rest of the piece, shifting the lights and darks a bit, trying to help make the piece more cohesive:

As always, achieving realistic renderings, even with a fantasy subject like a Warcraft goblin, takes a lot of back and forth and patience. If you’re afraid to try something right on the piece, try it on a scratch paper first.

View Part 2 of this tutorial, Coloring Blue Hair. See more of Brandi’s fantastic illustrations on Copic Color, and add your own work while you’re there!

Posted in Copic Markers, Illustration, Techniques, Tutorial | Tagged guest post, guest tutorial | 1 Comment

Copic at WonderCon 2012

March 13, 2012

WonderCon 2012
Visit Copic Marker at WonderCon in Anaheim, CA, March 16-18! Find us at booth #875 near Artist’s Alley.

Check out some of the amazing Copic-loving comic artists that will be at the show!

Cat Staggs

J. Scott Campbell

Humberto Ramos

Todd Nauck

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Cat Staggs: Artist Alley #146
J. Scott Campbell: Booth #805
Humberto Ramos: Artist Alley #071
Todd Nauck: Artist Alley #026

To stay current on everything Copic during WonderCon, follow us on Twitter and Facebook.

See you there!

Posted in Event, News | Tagged Comic Art, event, Trade Show | Leave a comment

Artist Interview with Caleb Laughlin

March 13, 2012

Caleb Laughlin is an Associate Designer and Architectural Illustrator at Cameron McCarthy Landscape Architects in Eugene, Oregon, as well as a freelance illustrator. Last year Cameron’s rendering of the Willamette River Bridge (below) won an Award of Excellence from the American Society of Architectural Illustrators (ASAI). The image can be found ASAI’s annual publication, Architecture in Perspective 26. Read on to learn more about Caleb and learn how he uses Copics in his amazing illustrations.

When did you first become interested in architectural illustration?
I’ve always been interested in Industrial design, concept art and illustration. As a kid I was fascinated by the design work of Ralph Mcquarrie and Joe Johnston who, among other things, were the lead designers behind the original Star Wars movies. While in the Landscape Architecture program at the University of Oregon I found that I really enjoyed producing the Landscape and Architectural renderings that would accompany our design group’s final presentations.

Do you have any formal training?
I graduated from the Department of Landscape Architecture at the University of Oregon with a Bachelor’s degree in Landscape Architecture as well attended a couple of different design workshops over the years. But other than that I have had no formal training, just a lifelong love of drawing.

What’s a typical day at work like for you?
My typical day is split into two parts, the first I spend at the Landscape Architecture Firm of Cameron McCarthy here in Eugene Oregon, where I focus primarily on Landscape and Architectural illustrations for design concepts, proposals and promotional purposes. I also work from home as a Freelance Illustrator, where I focus on illustrations for books, graphic design and logo and character development.

Why did you choose Copic products for your illustrations?
I’ve used Copic products for years, they are fast and easy to use and the wide variety of colors allows for a fair amount of flexibility with regards to illustration. I use the Mulitiliners for the initial line and texture work and then follow up with sketch markers for color. I use a standard set of go-to sketch colors in virtually every rendering and then mix it up with different hues to help establish the overall drawing mood. When I am done working with the Copics I usually follow up with colored pencil to add an additional depth of color and texture.

Do you prefer traditional media over digital?
I feel both types of media have very important places within the design profession. Digital media is great for products that may require future revisions, I think for this reason it is a fantastic move that Sketchbook Pro came out with a Copic Color edition, I am now able to utilize my traditional Copic color palette while having the streamlined flexibility of a digital tablet for quick edits. I still prefer the unpredictability that a hand rendered sketch produces where many times unintended mistakes create wonderful surprises that would not have happened in a controlled digital environment.

What’s the most challenging thing about architectural illustration?
One of the most challenging things about architectural illustration or illustration for that matter is allowing yourself to work outside of your comfort zone and push the boundaries of what you know especially within a time sensitive project deadline environment. It is really easy to rely on already proven illustration techniques in order to meet deadlines therefore missing potentially rewarding opportunities for growth.

What are you working on right now? Any personal projects?
At Cameron McCarthy I am working on a couple of concept illustrations for some local clients. I am personally working on illustrations for a children’s book by a local Author in Eugene as well as some animations and illustrations that will be self-published in the future.

What’s your favorite Copic color?
B60 – It’s a fantastic base color for sky and light shadows, it has essences of pinks and purples that become apparent when it is allowed to bleed out on a nice photocopy paper.

Any words of advice for new artists interested in pursuing architectural illustration?
Find illustrators whose renderings intrigue and inspire you and try to emulate their techniques as much as possible, it’s amazing what you will learn about them as well as yourself it will help you to find your own illustration style and technique.

Find Caleb on the web:
www.cameronmccarthy.com – architectural illustration
www.caleblaughlin.com – general illustration

Posted in Artist Interview, Copic Markers | Tagged architectural illustration, architecture, Artist Interview, Illustration | Leave a comment

Guest Tutorial: Architectural and Technical Sketching by Jackson Root

March 6, 2012

This week’s guest tutorial is by Jackson Root, a talented illustrator in Southern California. Enjoy!

Architectural and Technical Sketching with Copic

One of my favorite things to do on a Sunday morning is to go out exploring in the neighborhood, to find something interesting to sketch, to challenge my hand and my mind and find the tried and true rules that govern technical drawing! The truth is, whether you notice it or not, your eyes pick up on a number of mechanics that happen naturally with forms in space, shortcuts our eyes make in order to understand the visual information before it is sent to our brains. It’s these mechanics that allow us to understand our environments, and it’s when these mechanics don’t exist that we suffer from symptoms of vertigo and motion-sickness.

Understanding these mechanics and knowing when and how to employ them in our drawings gives them the illusion that they depict real objects occupying real space. Failure to use these mechanics can often result in drawings of objects that seem to be floating in air, or just out-right wacky! If you take a moment to Google “German expressionism” and take a look at what those artists were doing in the 1920s, you can get a feel for how you can manipulate perspective to add drama and anxiety to your artwork simply by tweaking these mechanics.

In the sections that follow, I will briefly touch on some mechanics that are important to keep in mind while sketching anything from a house to a tape dispenser, those mechanics being Verticals and Vanishing Lines. For more information on perspective and conveying forms in space, I recommend Walter Foster’s book, Perspective, and also Creative Perspective for Artists and Illustrators, by Ernest T. Watson.

Verticals

The first aspect of these mechanics that is important to discuss is understanding verticals. Typically, the walls of all buildings should stand vertical, and by definition, these verticals should always be parallel to one another.

Before I begin a sketch, I look for the verticals as a way of plotting out my drawing. Using these lines, I can establish a standard of measurement for the drawing which I can use for the placement of other elements in the drawing.

If you’ve had a chance to read my Sketching From Life Blog entry from a few months back, I talk about how I begin a sketch by using a very light color, such as an E11, or R02, to rough in the shapes and the placement of the objects in the drawing paying careful attention to how they relate to one another.

For example, near the center of the drawing is a small balcony with a banister that forms a small rectangle with two verticals on either side. Now I can look at this small rectangle and make a mental note of how large it is in relation to the rest of the elements in the drawing. Using this standard of measurement, I can say to myself, “…now the right-most edge of this garage-building on the left is just about one-and-a-half ‘balconyfences’ to the left of that building, etc”. I then draw a short vertical line that once I really begin to add tone later on, will nearly vanish away in contrast (If you look to the right of the telephone pole on the left, you’ll see a faint version of it, which was the original sketch prior to revising it with a darker tone later on).

“Vanishing Lines” or “Parallel Lines”

The next mechanic that is critically important to keep in mind when sketching is understanding how vanishing lines, or what are in reality, parallel lines relate to one another in an image.

In any one object, or in this case, building, there exists any number of lines that if they are parallel in construction, i.e. window panes, rooflines, door hinges, etc. If the sides of two buildings are parallel to one another, these lines will relate to one another in the sense that they will all converge at one point in the distance, the Vanishing Point. If you were to trace the lines in red, they should all converge at one point, the same with the lines in purple, which relate to a different building which in this drawing has its own set of vanishing points and rules that govern it.

When I began this drawing, I took a moment to consider these lines and decide which lines would relate to one another, and I began this drawing by using a very light tone to rough them in before adding darker tones to really ‘cement’ them as part of the drawing!

I encourage you to employ these tactics, or at least keep them in the back of your mind when drawing anything you see- literally everything you see with your eyes obeys these rules! The next time you’re feeling adventurous, grab a couple of markers- you’ll need a very light one, like an E11, BG02, or R02; a middle tone such as E33, BG13 or R20; and a dark tone, E77, BG18 or R29; your favorite sketchbook, a pair of sunglasses and an inquisitive mind, and find these rules, they hardly ever lie! Better yet, get your hands on the Copic Sepia Ink Pro Kit; it has everything you need to make wonderful tonal drawings!

Find Jackson on the web:
Web Site: http://www.jacksonroot.com
Copic Color: http://www.copiccolor.com/Jackson

Share your sketches with us on Facebook and Twitter!

Posted in Drawing, Tutorial | Tagged architecture, guest tutorial, technical sketching, Tutorial | 1 Comment

New Design Team Members!

March 1, 2012

It’s been a while since we added anyone new to the Copic team, so it is with great excitement that we announce two new designers to the Copic Papercrafting Team: Cindy Lawrence and Michele Boyer. Welcome to the Copic family!

We are so happy to have these talented ladies sharing their skills with those of you who crave more wonderful projects and ideas for using Copic Markers. Please visit Cindy & Michele’s blogs for a chance to WIN a new Copic Carrying Case!

Cindy Lawrence’s Blog
Michele Boyer’s Blog

Check out the rest of the design team’s blogs for more chances to win! They are each giving away rolls of X-Press It foam tape and double-sided tape. Here are the links:

Good luck!

Posted in Copic Markers, News | Tagged Copic Markers, Design Team | Leave a comment

Guest Post: Blue Hair by Brandi York

Talking Street Art with Graffiti Writer’s Block [GWB]

New Product: Slim Lights!

Artist Interview with Paul Hill

New Product: Line Art!

Guest Post: Goblin Illustration by Brandi York

Copic at WonderCon 2012

Artist Interview with Caleb Laughlin

Guest Tutorial: Architectural and Technical Sketching by Jackson Root

New Design Team Members!

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