- Lesson details
In this lesson series instructor Sheldon Borenstein shows you how to work with a variety of drawing and painting media. You will learn how the general principles of art apply equally to all media and specifically how to work with each individual medium while employing the appropriate techniques. In this video lesson Sheldon will teach you how to work with markers.
- Tombow Dual Brush Pens
- Kuretake Zig Clean Color Real Brush Markers
- Water Brush
- Drawing Paper
Discuss this video in the forums!Discuss
of drawing and painting media. You will learn how the general principles of art apply equally
to all media and specifically how to work with each individual medium while
employing the appropriate techniques.
In this video lesson, Sheldon will teach you how to work with markers.
time for everybody. Markers are fun. Markers are expensive. There are different brands
of markers and two different kinds of markers. So everybody clear you mind and listen up.
Can you use the two markers together? Yes, you can, and I’ll explain to you how they
work. You have your water based markers. How do you tell what they are? When you look at
them they’ll say water on them, but they don’t say permanent. Your alcohol based
markers will say permanent. Again, the alcohol based markers you can smear together with
the alcohol marker. With the water based markers you can actually play with them like watercolor.
Now, how do they mix together? Let me get that out of the way. If you put down a water
based marker and a water based marker on top it will affect the marker underneath. It’ll
smear it. If you put down a water based marker and put an alcohol marker on top the water
based marker will come right through. It’s really fun. The alcohol marker will not affect
it at all. So you can really play back and forth on these, and I do. I have lots of markers
because I like to play with them. I like to sketch with them. How many do you need to get?
Lots. Like the pastels, you have to build them up. They come with different grays, different
pigments, and they’re hard to mix like you do with paint.
You know you can mix two colors together. They’re lots of fun.
So with the alcohol when you want to mix those together you’ll scrub them. Okay? I learn
that from a guy who taught at an art center named Jack Lynwood who is just incredible.
These people would do paintings with markers that looked like master paintings. In the
olden days before the computers and everything when you wanted to do a mock-up they had these
people that were called marker comp renderers. They would do these paintings with markers
that looked like photographs. Like finished pieces. Then they’d show them to the art
director. Then you’d go out and contract your finished painting or your photograph.
What I’m going to demo for you today is a water based marker and I’m going to use
it just as marker alone with scrubbing for some of them. And some of them I’m using
a waterbrush. That’s just a brush with water in it. You’ll see it in the demo. They’re
fun. They’ll cost you $7, $8. I have four of them with me everywhere I go in different
parts of my bag so I don’t have to go looking for them. That’s how important they are.
What it does is it melts the water based pigment of the marker. It’s pretty awesome.
You can treat it like watercolor.
I’m still going to do some more for you, and I’m going to do a lot of demos with
the markers because they’re just so fun. I carry with me everywhere I go about four
or five different brands of maker. They’re very expensive and they’re really fun. Again,
we start with the flat wash, the gradated wash. If you notice now it’s starting to,
you know, it’s dry and you can really, this is scrubbed and it has a water on it. Look
at that. It looks like watercolor. This is marker but I used the waterbrush on this.
And then this one I used more scrubbing. And this one is just direct marker. So you can
see three different applications of the same markers. And this is just real fast. But if
you look at it really close, you’ll see the paper starting to come off because I just
scrubbed it. Just scrub. That’s what I learned from Jack Lynwood because—I was shocked.
He just started scrubbing this marker. You think you’re going to damage the marker,
and you really don’t. And what if you do? It’s a $7 marker and the piece of artwork
you’re doing you might be getting a $1000 or $1200 or $500. Ruin the marker. But I actually
mix the markers together. I’m going to do a lot of marker demos for you guys. I’m
going to do portraits. All kinds of fun stuff.
Brands? On the alcohol based ones Chartpak is really popular. The most popular one that
exists today is the Copic. They’re wonderful. They’re very subtle and they blend into
each other really well. They’re expensive. The problem I have with Copics is a bought
the big set. I think it’s like 90 or something. I got it—again, I’m very lucky. I paid
a fraction of the cost of them. The problem is they run out of pigment fairly quick so
you have to buy the replacement, the refill. And you get a lot, but a refill is like $8.
So now you’re buying a marker for $7 and you’re buying the refill for like $8. That’s
like $1000. I mean it gets really expensive. So what I do is I have this palette of markers
that I used, and I’ll show it to you guys when we do the Copic demo. But for every one
of those markers I have in that palette, and I think there’s probably like 30 or so in
my palette that I carry, you know, that I use with me. I have the refills.
Now, the big one. I just stare at those. I have them in a case. I put them in a special
case. I really don’t use them very often. But with those, you could do a full, beautiful
painting. Copics are awesome. But again, they’re very expensive. Really, what you need for
Copics if you want to have some fun, just a couple grays. At Chapman where I teach I
got the kids in their kit, I just have two, five, seven, and black.
With that you’re looking at the light, the middle, and the dark on your color, you know your value scale.
And it works great. Doing a line drawing throwing your values in and you’re good.
One thing that’s really fun though, and I’m going to demo it for you at another
time. If you put down the marker in the grays on a nice substrate, a really nice quality
piece of paper, and you go on top of it with pastel it just melts on top of that marker.
Not only does it look it; it feels good. It’s just so satisfying. For some reason, it roughens
up the paper somehow, and it just feels great. I like doing that for storyboard and comping
and just doing some gray marker, getting the values right, going over there with just a
hint of the pastels and sitting back and having an artistic buzz. Again, here we go. Get ready.
Buckle your seatbelt. So that’s—I’m sorry, real quick. Let’s go back. That’s
the brands on the alcohol. For the other ones, the nonalcohol; Tombow, Zig, excellent markers,
and they come in lots of different colors. Water based markers, they’re fun. Now let’s
go. So go buy some markers and watch the videos and let us know if you need anything or if
you have any questions. And that’s markers.
out there, you Manga people out there. Welcome to marker time. We’re going to be doing
water based markers. This was a set that was given to me by a student who is just the most
beautiful student, and she came to my class already having a Masters Degree, so the university
really wasn’t going to let her go for other degrees so much, but I let her stay in my
class and taught her. She was wonderful. So we'll use some of this.
Then we’re going to use to waterbrush because these are water based based markers.
Markers come in two different kinds. They have alcohol based and water based. The fun
part is that if you put the alcohol over the water the water comes right through. It doesn’t
affect it. We’re going to be doing a wet into wet type look. It’s going to look like
watercolor. Here are some water based markers. These are markers I never really liked for
such a long time. And I love them now. I’m having a lot of fun with them. These are Tombows.
Tombows are really fun. The problem with Tombows is that they’re very, very strong in their
pigment so we’re going to use our grays. Here’s another brush marker. I have a lot
of fun with markers. I think they’re just so cool. The fun part about them is you can
carry them around with you and just draw and paint like crazy and the clean-up is nonexistent.
This is actually a brush pen. Really fun. I think this is not a water based, though.
I just have it in here.
I have these. A little white chalk. We’re going to do a mixed media later. One of the
things I like to do is marker and then over the marker I like to put pastel.
Now, this is a waterbrush, and it’s got water in it. That’s why they call it a waterbrush.
I've got this really full. I hope it’s full. I think it is. I’m going to use this waterbrush
to move the paint around, you know, the pigment. It’s going to almost feel like watercolor.
How cool is that? Marker that’s watercolor. That’s like, dude. Okay.
So now we’re going to work a little smaller so go here. Here will be our flat.
This will be our gradated.
Really, again, the reason why we’re doing this is because this occupies
all of the shapes, you know, the three shapes make up everything. Here’s our sphere.
Here's our cube.
Here’s our cylinder.
Then over here is going to be our little painting.
Tree is going to come out this way.
Wrap around. Box shape. Box shape.
Okay, you’re not really supposed to see this lay-in, you guys, because this is for me.
I’m going to be drawing over it with the markers.
Okay, here we go. A good lesson for you is that your lay-in is personal, and you know
so many times you’re trying to grade these lay-ins. You can’t do it. You know you do
a lay-in, it’s dark. Alright, so for the wash let’s see what we can do. Here we go,
flat wash. We’ll go like this. Alright, we’re going to be very official. Here you
go. Flat wash. Going straight across. You learn how to put these marks next to each
other. In the olden days before they had Photoshop and all the digital programs, there were artists
who were marker comp artists, and some of them because they were alcohol based markers,
they became allergic to the smell and they had to stop. But I remember when I was in
college (This was before electricity and the motor car) we went to this ad agency, and
these guys were doing the most incredible marker comps. They looked like photographs,
just beautiful paintings. Okay, so that’s your flat wash.
For the gradated wash we’ll start with light. This will be a midtone. Here we go.
They would comp it out, and they would do the most beautiful stuff. There is a guy, Jack Lynwood, taught
at Art Center. I took a seminar with the guy. Oh man, oh my God. His marker comps look better
than just about painting I’ve ever seen. Just incredible artists, and they were able
to use these markers. There we go. Like that. And then we’ll go dark.
So, you know, I took seminars on how to use markers. One of the things about markers that
you guys need to understand is that you have to be able to scrub. Let’s see what scrubbing
means. This is scrubbing. That blew my mind, that you actually scrub these markers like this.
There you go. That’s how you blend it. Aren’t you going to hurt the marker?
Okay, you’re getting thousands of dollars for your artwork, and this is a $3 marker.
Who cares? There you go. Isn’t that wild? Boom, done. You want to go darker? Go darker.
Want it warmer? Go warmer. Look at this. I love markers. It’s probably one of my most
favorite mediums to use. It’s like watercolor without having to worry about the mess.
Look at that. So cool.
Ta-dah! Thank you. Thank you very much. I’ll be here until Thursday.
There you go. There’s your gradated wash.
Okay, let’s do the sphere. What’s our local color going to be? Kansas, what do you
think? What do you want to use? Let’s try—that’s hot. We’ll use that for the core.
That's fun, nice and neutral. Here’s your local.
Light source will come this way, and there is my big picture.
Alright, so we’ll put that here just like we do with the pastels.
We’ll move it right there so we know what it is. I think this is a little darker.
Okay, this is fun so this will be our core.
We may not even be using the water. At this point I would either use the water and blend this.
Or I would use another lighter marker like I did here. It’s your call. It is fun
that when we’re working with a water based marker than you can get in there and really
float this stuff. See, watch. If I want to put in this blue here—see that?
It just floats. I can come over and answer it here.
You can float some other color in there.
Like I said, I really want to bring that out. Maybe I’ll go darker here and then put a little
gray in there to kill the chroma, meaning hue, meaning color.
So color, chroma, and hue are the same thing. I just mix it together with this water.
You can use a water based marker.
Now, when I do the alcohol based ones you’ll see I can’t use the waterbrush so I use
another lighter marker and get in there and scrub it.
With this case I don’t have to worry about that. So we got that. This is really fun.
Let’s put the center of the core.
Maybe we’ll go brown like this. So it’s kind of like watercolor.
You have different mediums. You have opaque and transparent mediums.
I hit a really hard accent. To use that you
need a really dark black. Right there, that’s your contact shadow.
Warm in the foreground here.
Soften this edge.
There we go. There’s your sphere. Now let’s do the box.
Sneak up on the shadow side. Put down a gray.
Warm it up.
Go down here.
Then the side—eh, that’s too dark. Halftone.
There you go. That fast. If you want to soften
an edge you can. I don’t know. This is pretty fine.
See, this is a good lesson. See how
strong that blue is? It really comes toward you. You want to push it back with the gray.
Scrub it. Okay.
Here we go. Core shadow.
Let’s go really strong on the top. Oh my,
look at that. We can smear it.
You get to the point where you start working really fast with markers.
It’s such a forgiving medium. It’s so much fun.
I just sit in the corner. I get to the airport early in the morning. I’m pretty reclusive.
I just sit there and just have so much fun just drawing.
Pull out my markers. Just have a lot of fun.
Okay, there you go. There different styles.
Now, if I want to put a highlight I usually use a pastel. If they’re not—if they’re
dry you can come in with one of these, but if they’re still wet you have to use a pastel,
softer. There you go.
This is still a little wet. And this is probably very wet. You can come in like that.
We have to wait for this to dry. We’ll come back. If it’s wet—because
this is a chalk medium and this is wet. You see here you can go hard and then you just
soften it out a little bit. It’s still a little wet over there. You have to be careful
knowing your different mediums. What is a medium? Medium is the tool you’re using.
It’s called a medium.
Alright, let’s have some fun with this tree.
So what you’re experiencing right now is sitting back and looking at your drawing.
Sometimes I’ll sit in my studio and stare at it, oh man, for a long time.
It’s coming this way. And then I can see
it. I see it all finished. Once I see it done then I just sit down and execute it.
Here’s our general lay-in.
I had probably one of the best teachers of my
life, his name was Saul Denver. We don’t mention him too much. Studied with him for
airbrush when I was 18, and I ended up working for him.
That’s what happens when you’re
really into it and you get these teachers, sometimes you can end up working for them,
or in my case with them. I hire my students.
In some cases I give them businesses. I have a group of students. I gave each one of them a business to run.
They’re just too good.
You don’t want to be away from them. You don’t want to lose them so you work together.
Study with them. This guy, Saul Denver, he was art director at Rocketdyne. They made
the engines for the space shuttles. I got to work on a space shuttle and a lot of other
things. But he taught me a lot about lay-ins.
And this is where I got this from. This is
from Saul Denver. In this class we had to do this, these three shapes.
So thank you, Saul. You’re the man.
There’s the light side.
There’s the core. Cores and casts go together.
Take a look at the fundamentals video and you'll see.
There’s the side. There’s the top.
You never slow down.
So this is all lay-in. We need a background.
Ah, we forgot our green behind.
that this series hopefully is showing you guys,
you know, there’s different kinds of artists. You know, some artists they do
their thing and they’re very famous, and they’re famous doing their thing.
My job has always been, I don’t know, a studio artist. I have to do what I’m asked to do.
You know, one day they might say we need a character, we need character design. Another
day I could be working homicide determining the trajectory of a bullet through the body.
Another day I’m illustrating fire, you know, whether it was arson or not. Another day I’m
designing a character for a TV show. You know, I just do whatever is needed.
I love technique. I love art supplies. I love art.
I love my family more than me, and because
of that I draw a lot so that they can go shopping.
Okay, so now this is casting a shadow.
I love my students. They are so important.
Sometimes you just have to be there for them.
Some of them beat you up, but in the end they come around.
Alright, let’s start getting some little details. Remember it’s at the turning plane
that’s the most important. So we’re going to go ahead and get some details
here where it's turning.
So hopefully what you’re seeing here is drawing and painting is the same.
The medium that you’re using will change.
What the client needs it for will change.
Don’t tell me that fine artists don’t have clients because if somebody wants
to put a painting up in their wall in their house, that’s still a client.
Now, am I involved in fine art? I’m the vice president of the Catalina Art Association. They’ve
been around for over 50 years, and I’m in charge of judging. So when they have their
big art shows I’m in charge of the judging of these huge international art shows.
So I think that’s part of being involved in fine art. I have paintings hanging in private
collections where they’ve actually paid for them so that’s kind of cool. Yeah, it’s
all the same. It’s all commercial art. It’s all commercial art.
My favorite part of art, just sitting alone with your sketchbook and just drawing or sitting
in front of a really nice model, drawing, getting lost. For those of you who really
want to experience art in the fullest, figure drawing is really the fullest of them.
That's the one that’s going to satisfy you. It’ll take you a while to get there. On this New
Masters you’ve got the top figure drawing artists teaching you. I’ve been teaching
figure drawing for 30 years, and that’s more than 5, less than 8, and more than 12.
I’m going to do a series of figure drawing for you guys. Mine are a little bit more silly,
but still the same information.
Now, a little bit about being a professional artist. As a professional artist, you own
your art. You lease it. You rent it to people. You never give it away. You don’t sell your soul.
So if you’re working on a movie, well, you’re drawing on the movie. But you’re
always your own artist. If you’re working on a video game you work on the video game.
If they don’t like something you do say fine. It’s like going to a burger place,
right, walking up to the corner and telling the person by the counter, say, you know this
burger just doesn’t taste right and have them start crying. You know, what’s wrong?
I said, well, my mom loved this burger. I worked all night on this burger. You know,
you want them to say, alright, I’ll make you another burger. That’s the same thing
with the art. The person says, you know, it’s really not what I had in mind. Alright, no
problem. What are you looking for? And you do it again. You will work forever. No room
for temperamental artists. That’s in the movies.
But again, I have to make a living as an artist
so I don’t have the ability to be temperamental.
Some people might think I am but no.
Just tell me what you want.
There are some shapes in the background.
Now the fun part is when we do the marker. We won’t have to do all this.
We’ll just do the marker part. You mix in mediums, like you mix in a little pastel
or a little bit of gouache or something. Oh, so fun.
We call that mixed medium.
Also, you want to have good paper. This is Canson. It’s good stuff. You’re beating it up.
You’re beating this paper up. You’re scrubbing it.
I learned this from Jack Lynwood.
It was so fun. I never would have thought of this before. I never would have thought
of scrubbing a marker like this. I would have thought you just put it down.
Make it as moody as you want.
I’m not going to be able to put any white chalk on top of this because it’s too wet.
But here, this is starting to dry, so it’s taking the pencil. If you look this is too
wet. It doesn’t work. Right now I would love to be able to put some pastel on here,
but that’ll be for a different lecture. What do you guys think? What do you think,
New York? You’re like, [tough voice] “What are you talking about? We’re in New York.
We invented the marker. We’re advertising. Got it? Advertising. ”What do you think
Kansas?“ “What? Yeah, we’re good.”
What do think L.A.? “Huh?” L.A., are you listening? “Huh?” L.A. is too busy getting burgers.
Okay. Ooh, I forgot about this. Cool. Look at that. It’s warm. Dude, that’s hot.
That’s hot. Dude, that’s hot.
Okay, markers. I’ve got three different brands. We didn’t
even use these. I’ve got a lot of different brands of markers, and they all
kind of have their own fun. Alright.