How to Upload a Texture Alicia Online

Do you color everything smooth?

My latest Copic Coloring Tips video at YouTube is all about texture.

As a beginner, most colorers focus on blending skills.

Subsequently all, the blends are what originally attracted you lot to markers in the outset place.

So you dream about blending, you practice blending, and the color blends are what yous notice most when you go online to await at other coloring projects and tutorials.

Blend, blend, blend.

Just wait, are you stuck on blending?

The Blending Trap

I of the issues I notice with my intermediate to advanced students is that they've spent a long time obsessing nigh smooth blending.

Often to the detriment of any other technique.

Exam yourself:

Proper name a different Copic Marker technique; something other than shine blending.

I don't mean airheaded novelty techniques like dabbing colorless blender soaked washcloths or burlap over your polish blending.

I mean a real coloring stroke that you lot'd use to fill in large coloring areas.

Something that doesn't either start or end in a smooth color alloy.

A lot of you are thinking hard…

I'll wait.

Some of you are still thinking…

Don't be surprised that y'all tin't come upwards with a technique other than flick stroke blending. It'southward normal.

Because the unabridged Copic globe is stuck on blending.

Without blending, what else would y'all do with your markers?

The world is total of texture!

Look at the environment effectually you.

The room where yous're sitting is total of texture. Non but the obvious things either. The carpet and your cat or the potted cactus are logical textures. We all know that some things are soft or hairy or spikey.

But how oft do yous include even the most obvious textures in your coloring?

I'm certain yous don't think twice about coloring a Christmas tree with short little flick strokes that look like pointed needles. That's a pretty proficient utilize of texture.

But what most a wooden chair?

Do you colour it brown and blend information technology out shine even though you know darned-well that wood has a grain and a subtle soft glow?

What virtually a terra-cotta pot?

Do yous color it dark-brown orangish and blend it out shine even though you know that raw dirt pots are gritty feeling and they're very matte with no reflective highlights?

And what almost that brand new stamp with all the dogs in it; the one you colored concluding calendar week?

Did you lot color one canis familiaris with long furry strokes but the residue were composite smooth even though all dogs have fur?

Too often, colorers call back of texture equally something special. It's like an fancy up-do hairstyle or a lacy blouse, something you save for special occasions.

Holding texture in reserve limits your chance to color with realism.

When you color the wooden chair smooth, it doesn't look real because wooden chairs are non smooth. Fifty-fifty if you get the shade into the correct spots, you're asking your viewers to pretend it looks similar wood.

If you lot want something to expect real, you take to remember near more than simply the color, the shade, and where to put the highlights.

You also have to address the real texture.

And then how practice we create realistic texture?

How practice nosotros use creative strokes and interesting textures in our coloring projects?

Well, information technology's not a one-size fits all technique. This is not a tutorial.

Instead, adding texture is a procedure and a mindset. Hither'southward how I approach real texture in my coloring.

i. call up well-nigh how information technology feels

The starting time key to coloring realistically is to think realistically.

Real stuff has real texture.

If information technology'due south not polish, then what is it exactly?

To show how something feels, y'all have to know how something feels.

If you lot're rushing through the coloring procedure, of course y'all're going to end upwardly blending everything smooth. Blend is the default mode for most colorers. We need to switch your brain off default!

So terminate.

Think earlier you color.

Enquire yourself some basic questions:

How does this object experience?

What does the texture await like?

You have to call back about objects in terms of adjectives. Difficult or soft. Shiny or matte? Velvety, prickly, or ooey-gooey sticky?

The more words you acquaintance with the object, the better your understanding of the texture is.

Once you take the words, you can start to think of appearances.

"If the frog is moisture and slimy, how can I testify that in my coloring?"

And past the mode, don't just do this for one object per project. For realism, you need to describe every object in your image!

2. design is not texture!

I know this sounds weird but recollect well-nigh information technology. In your normal everyday crafting life, practice y'all lump blueprint in with texture?

A lot of people do.

But pattern is a very different thing than texture.

A design is visual. Information technology's a design or repetitive motif that is added to an object. Texture is a feel. Texture can be repetitive but most of the time, it's organic and random.

Plaid is a pattern

Stripes are a pattern

Polka dots are a pattern

Hirsuite is NOT a pattern

Don't confuse the ii.

A plaid flannel shirt has a pattern just underneath the pattern, it likewise has a texture. Flannel is soft and matte. And it's not merely feel, think virtually the condition of the object- the shirt could be make-spankin' new with factory folds and a starched collar, or the shirt could be old and dilapidated and worn thin at the elbows.

Texture is ordinarily the detail you lot forget when you get excited nigh a fun new patterning technique.

iii. Recollect nigh calibration

One of my big pet peeves is when people draw hundreds of giant hairs on their animal and people stamps.

"But expect a minute Amy, you only said to add texture, so shouldn't nosotros be adding hair from at present on?"

Well yeah, but consider this: what kind of hair do you draw with your big, fat, juicy Copic nib?

Even if your stamp was life sized, your Copic nib is nonetheless about g times thicker than a strand of pilus.

So when you draw hair on a stamp with Copic markers, it looks like y'all're adding dreadlocks.

Was rastafarian really the expect you were going for?

If we're coloring realistically, size and calibration need to be realistic.

So rather than drawing every hair in the horse's mane, consider coloring locks of hair instead.

You'll withal break up the mane, keeping it from looking heavy and solid but yous won't be breaking the illusion of reality.

And by the way, Mermaid lovers. I'm looking at y'all at present. Some of you lot put suits of armor on your fishy girls. If she really had fish scales, they would be fish sized.

Same goes for you grass-growers. I know picture strokes kinda wait like blades of grass but if you lot really look at scale, some of you lot are adding big green tree trunks to your grassy coloring projects.

In this bottle of tonic, I was very careful to go along the pitting and the cracks on the cork in scale with the size of the cork.

And for my bubbles, I switched to a tiny 0.3 pen point. I wanted the look of delicate buzz. I had to remember small-scale to go on the bubbles realistically sized.

iv. Speaking of calibration…

Sometimes you merely can't come across the texture of objects.

Similar the pilus on the horse. We all know a equus caballus is covered in hair from head to hoof but the body hairs are so tiny that we tin can't possibly draw them, even on a life-sized landscape of a horse.

That texture even so matters though.

The horse has pilus but it's not something nosotros can run into from a distance. And how nigh the cowboy riding on the equus caballus? His jeans also have a texture that nosotros'd accept to go up close to determine.

The texture withal plays a function in how yous color each object.

The horse's hide has a loftier shine sheen and thus would require more highlights than the cowboy'due south muddied matte jeans. The bluish jeans would be a virtual expressionless zone with almost no highlighting.

Texture alters sheen.

Too many colorers highlight the horse the aforementioned as the saddle, the same equally the mane, the same as the cowboy's wearing apparel, the same as the cowboy's sweat-soaked brow.

Only all of these things have different reflectivity and dissimilar shine.

If you desire realism, y'all can't highlight them all the same.

five. Experiment & Play

Okay, the outset 4 steps here were things to think nigh and things to look for.

Let's get practical now; allow's get physical.

What kind of strokes tin you use for texture?

• flicks (long, short, direct, curved, curley, etc)

• dots (pointillism in various diameter spots)

• stripes or streaks

• spiral curls

• scumbling (messy twisted spirals)

• zig zags (regimental or random)

• organic doodles (calorie-free touch on downs that vary in size and shape)

• and hey, don't forget smoothly composite… that's a texture too!

How practise you know what textures your markers tin can make?

Yous take to experiment and play.

If you never exercise annihilation just flick and blend, you're not going to know what interesting textures you can create.

Want to know how I come with original textures for my coloring?

I putter.

I've got tons of pieces of scrap newspaper floating around the drawers in my studio. Pages total of scribbles and experiments.

Give yourself permission to Non-Blend!

The more you not-blend, the more weird little strokes yous'll discover.

If I'm coloring an old dirty label on an antiquarian canteen, I have the time to look at a few pictures of old dirty antiquarian labels. Then I effort to make my marking do the same affair I'm seeing in the photo.

I telephone call this "dancing with my markers" and it's how I experiment with strokes. I do the aforementioned matter with my pencils too. Experimentation is cardinal to artistry!

Trip the light fantastic toe on scrap paper and meet what happens.

You might not come up up with anything that's usable right away but I save my interesting scraps to jog my memory later.

And so there yous go.

five steps to developing authentic texture

Some of it's heed-work, some of it's handi-work just information technology puts y'all on the path to a deeper understanding of realistic texture.

Let's summarize:

1. Think in terms of feel

To show texture, you have to know texture.

2. Pattern is not the same thing as texture

Patterns are added designs and more often than not are seen rather than felt.

3. Consider the scale

Because frankly, giant blades of grass are kinda freaky.

iv. Texture alters sheen

Not everything has a hard, vivid highlight

5. Give yourself permission to Not-Blend!

Doodle and dance with your markers and pencils to create new and interesting textures.

Are you set up to colour with authentic texture?

Feeling a picayune sinister?

Introducing my new Tonic class.

This image has been all over Pinterest and y'all can find information technology hidden on my website… but upwardly until now, it'southward been a form I've only taught to local students.

Today, I'thou releasing the get-go online version!

And I've got a bunch of new resources to help y'all color Tonic and lots of realistic texture.

Permit's start with the gratis stuff!

Watch the latest Coloring Tips on YouTube:

(Click the paradigm in a higher place to spotter the video at YouTube)

And of form, at that place'due south the Workshop class!

Tonic is a challenge level for intermediates and advanced students.

The best thing about Marker Painting Workshops?

Workshops are NON-SEQUENTIAL!

Learn to incorporate real artistry into your coloring projects, one concept at a fourth dimension. Every Workshop details a new method for enhancing realism, depth, and dimension.

Each class stands on its own as contained learning. You don't have to take six of my other classes to understand this lesson.

All of my Workshop classes are FOREVER Admission. Piece of work at your own pace and repeat the projection as many times as you'd like.

Come color with me. It'southward a ton of fun!

Happy coloring!

Select products used in Tonic:

Vanilla Arts Company is a participant in the Amazon Services LLC Assembly Program, an chapter advertising program designed to provide a ways for use to earn fees past linking to Amazon.com.

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Source: https://www.vanillaarts.com/blog/add-texture

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