To celebrate the release of the latest The Great Gatsby remake (now in theaters), we’ve teamed up with fashion illustrator Jennifer Hancock to bring you a series of tutorials based on the Roaring Twenties fashion seen in the film.

For the final tutorial in this series, Jennifer walks us through the steps to create fur or faux fur with Copic markers:

There was something very naive about this era… So much excess with the Great Depression looming in the near future. That naiveté certainly existed in regard to animal cruelty – I do not advocate the use of fur pelts. I do, however, appreciate authentic costume, and fur clothing and accessories were all the rage in the Roaring Twenties, which is why I chose to include fur in this tutorial series.

I created this entire series using many of the same colors: jade green, dark berry red, popular skin tones from light to dark, flamingo pink, black pearl gray and white. If you review the product list you will notice the same colors being used again and again. I hope you become inspired by the variety of tones and textures you can achieve using 2-4 shades in the same color family.

I hope you enjoy these tutorials as much as I enjoyed sharing them with you! If you use these tutorials for a project, I would love to see your work – connect with me on Copic Color, or through the social media and contact options on my website. Special thanks to Copic for giving me a reason to create these images – As if I needed an excuse!

Until next time,

Jen : )

Step 1: Sketch out the border of the fur and overlapping areas in a small zigzag-type line. The more uneven and jagged the line, the better. I chose to outline the fur in a Multiliner color that most closely matched the marker color that will be next to the fur. Once outlined, fill the entire section with the lightest marker shade in your palette – You will want 3-5 shades. My fur and lightest shade are white, so I did not add any color at this step.

Step 2: Using the second lightest shade in your palette, follow along your outline, making small strokes with the paintbrush tip of your maker. These strokes should point slightly down and away from the center of the fur.

Step 3: Using the colorless blender, bleed out the strokes you just made by saturating them with the Colorless Blender. This will cause your strokes to fade and blur together. I did this to create the soft, dense, down-like fur at the base of the larger fur hairs. This technique also works well for velvet, felt, and suede.

Step 4: Using the second lightest shade in your palette again, use the brush tip of your Copic Sketch marker to create short, thin, light strokes that fade to a point along the outline. Keep the strokes erratic and spaced apart by 2-3 stroke widths. Angle is more important than perfection. Keep the strokes coming out from the center, pointing slightly down and away from the direction of your outline. Begin some of these strokes closer to the center of the section, but still close enough to connect with your border strokes, all while keeping the center light or free of color. Keep building until you have a nice, full-looking section of fur. If you have a slightly darker shade, add a few light strokes spaced out along the outlines, keeping with the same direction. This will create more depth by adding some shadow. Once you are satisfied with the shape and fullness of your fur, take your darkest shade and make light, thin strokes all along the edge of the fur. Be sure that these strokes are few and far between – Space them far enough away that they do not touch much. You want to create definition, not a solid border.

Step 5: Use a colored pencil that is slightly lighter than your darkest shade for texture. Make light strokes around the edge, and sparsely toward the center. This works best if you are using a paper with a nice texture. Omit the pencil if you are trying to achieve the look of super-glossy fur. If your lightest shade is not white, add a few strokes coming from the bright center sections of the fur using opaque white ink – this will add more dimension to the fur and make it appear as if some of the furs are catching the light (I did this very lightly on the fringed sections of the dress).

Materials Used:

Feathers & Fan
Copic Multiliners - .05 Olive, Wine, Gray
Copic Sketch markers - YG67, G82, R22, E01, R02
atyouSpica Glitter Pen - Silver

Hair
Copic Multiliners - .05 Black, Wine
Copic Sketch markers - 110, RV69
Prismacolor Pencils – PC929, PC938

Skin
Copic Multiliners - .05 Black, Sepia
Copic Sketch markers - E15, E18, R20
Prismacolor Pencils – PC938, PC946

Eyes & Lips
Copic Multiliners - .05 Black, Wine, Gray
Copic Sketch markers - E55, T3, T5, RV69
atyouSpica Glitter Pens - Silver, Black, Pink
Copic Opaque White

Dress & Jewelry
Copic Multiliners - .05 Black, Wine, Gray, Olive
Copic Sketch markers - RV69, R39, R22, R02, G82, YG67, E01, T3
atyouSpica Glitter Pens - Silver, Pink
Prismacolor Pencil – PC938
Copic Opaque White

Fur
Copic Multiliners - .05 Gray
Copic Sketch markers - 0, T1, T2, T3, T5
Prismacolor Pencil – PC1065 (Optional)
Copic Opaque White (Suggested)

Find Jennifer on the web:
Copic Color
Portfolio

Check out all four Roaring Twenties fashion tutorials by Jennifer!

To celebrate the release of the latest The Great Gatsby remake (which hits theaters May 10th), we’ve teamed up with fashion illustrator Jennifer Hancock to bring you a series of four tutorials based on the Roaring Twenties fashion seen in the film.

This week, Jennifer walks us through the steps to create a variety of jewels with Copic markers:

No extravagant flapper is complete without her pearls and ornate art deco jewelry! I have created a few simple jewel tutorials that show the techniques I used to create the jewelry in the final illustration. I tried to keep the cut stone instructions pretty simple, but keep in mind that the more geometry you add to your jewel design, the more interesting it can become. I hope you can use it as a starting point for creating some really incredible jewel designs of your own! Have fun!

Pearls

I started with a circle in pencil, then I outlined the circle with my gray Multiliner pen and erased the pencil. I added spherical depth to the circle by adding shading. I created a series of rings within the circle that get smaller and lighter as they get to the brightest point on the sphere, like you would shadow a ball – but to create a pearl, leave one light-reflective ring toward the base of the sphere. This ring will not usually show up in circular shapes with matte surfaces, but smooth surfaces will pick up a kind of reflective bounce light within their shadowy places when well-lit. I then blended the rings using two techniques – first using the colorless blender, then going over it again with the original ring shades blended with the lightest shade until satisfied. I highlighted the brightest section with a white pencil, and filled the brightest point with the opaque white ink.

Materials Used:
Pencil & eraser
Copic Multiliners – Gray & Black .05
Copic Sketch markers – T5,T3,T2,T1, 0
White pencil
Copic Opaque White

Emerald-Cut Amethyst

I started with a rectangle, then duplicated the lines of my rectangle from the inside, creating a new rectangle in the center with smaller rectangles in each corner. I used these lines to guide where the trapezoid shapes go in the outside corners. My rectangles are now elongated octagons, one within the other. Next I drew a line about a third of the way outside the center octagon, creating a third octagonal line. I outlined my three octagons and four corner trapezoids with a gray Multiliner and erased my pencil. I colored the different sections in three blended shades of the same color to give the appearance of reflected light, added a bit of white pencil to show reflected light on the sides, and outlined the entire illustration in a glitter pen for definition.

Materials Used:
Pencil & eraser
Copic Multiliner – Gray .05
Copic Sketch markers – V17, BV13, B41
White pencil
AtYou Spica Glitter Pen – Lavender

Teardrop-Cut Topaz

This cut is a bit trickier. I am sure there are better ways of getting your shapes to be perfectly even but I wanted to keep things simple, so everything here is done by eye. I started with a teardrop shape, or a circle and triangle fit together at their widest points. Then I drew a smaller teardrop in the center. I began drawing curved lines – the first beginning an the base of the outer drop, its curve meeting the center drop, and ending back at the base of the outer drop. I continued doing this around the teardrop, then did it again, this time starting in the center of the first set of curved shapes. Lastly, I finished the tip of the teardrop by drawing an X, leaving a nice diamond-shaped point, and preserving my teardrop center. Again, I colored the different sections in three blended shades of the same color to give the appearance of reflected light, added some white pencil to show reflected light on the sides, and outlined the entire illustration in a glitter pen for definition.

Materials Used:
Pencil & eraser
Copic Multiliner – Gray .05
Copic Sketch markers – B41, B24
White pencil
AtYou Spica Glitter Pen – Sky Blue

Jade Beads
Follow the pearl instructions above, but omit the lighter reflective ring at the base of the sphere.

Materials Used:
Pencil & eraser
Copic Multiliners – Gray & Olive .05
Copic Sketch markers – G82, YG67
White pencil
Copic Opaque White

Round Cut Hessonite Garnet
Follow the instructions for the teardrop-cut topaz. Change the teardrop shapes to circles and create rounded lines all the way around, omitting the X used to create the tip of the teardrop.

Materials Used:
Pencil & eraser
Copic Multiliner – Gray .05
Copic Sketch markers – R02, R08, E01
White pencil
AtYou Spica Glitter Pen – Orange

Final Illustration – Materials Used:
Pencil & eraser
Copic Multiliner - Gray, Black, Olive, Wine .05
Copic Sketch markers:
Skin – E11, E21, E13, E01, R20, R02
Hair – R02, E13, E15, E18
Eyes – T5, 110, T3, T2, G82, YG67
Lips – R39, RV69
Jewels – B41, YG67, G82, R39, RV69, T3, T5
Dress – E01, R02, RV21, R22
AtYou Spica Glitter Pens – Silver, Gold, Orange, Olive, Red
Copic Opaque White
Prismacolor Pencils – PC929, PC938, PC927, PC944, PC945

Find Jennifer on the web:
Copic Color
Portfolio

We’re giving away 100 Ciao markers!

One marker per winner, ten winners per day. Enter once a day day through May 22nd:

<>

Enter by June 14th for a chance to win $350 and awesome Copic prizes!

CONTEST CRITERIA:
- Contest theme is “Illumination,” brought to you by Copic Marker.
- Eligible artwork must be proportional to a tall, narrow vertical format. Final piece will be enlarged to 89 inches by 193 inches.
- Each submission must use Copic products in whole or in part. All artists must provide the information as to what Copic product was used in the submission.
- This contest is open to residents of the United States and Canada only.
- Artwork will be judged by five committee members including: A City of Eugene Public Art Committee member, an Ethos Magazine representative, a Ninkasi Brewing representative, a Copic Marker representative, and the City of Eugene Public Art Manager.

Artwork will be judged on three categories:
1. Aesthetics (color, style, vibrancy): 1-100 scale
2. Relevance (how does the artwork relate to the theme, ILLUMINATION): 1-100 scale
3. Uniqueness: 1-100 scale

PRIZES:
First prize: $350, a 36pc Copic Marker Sketch set, a Copic Multiliner SP 10pc set, plus your name and artwork featured in a highly visible downtown location!
Second prize: 24pc Copic Marker Sketch Set and a Copic Multiliner B2 9pc set
Third prize: Copic Marker Multiliner SP 10pc set

TIMELINE:
June 14th, 2013: Final date for art submission (submit by 11:59pm PST)
June 26th, 2013: Selection of winning artwork with representatives from City of Eugene, Public Art Committee, Ninkasi, ETHOS and COPIC on the selection panel
Sunday, July 21st, 2013:  Unveiling of artwork in downtown Eugene

PROMOTIONAL USAGE OF SUBMISSIONS:
By submitting your artwork, you are agreeing to allow contest sponsors the right to use submitted art for promotional purposes in connection with this contest. Sponsors are required to specify contest name each time art is used. Copyright for artwork is maintained by the artist and no art will be reproduced without reference to this contest or for sale. Exclusive use of art, or usage without specifying this contest, requires negotiations with artist(s).

ENTER:

<>

To celebrate the release of the latest The Great Gatsby remake (which hits theaters May 10th), we’ve teamed up with fashion illustrator Jennifer Hancock to bring you a series of four tutorials based on the Roaring Twenties fashion seen in the film.

This week, Jennifer walks us through the steps to create a flowy, satin fabric with Copic markers:

1. I imagined this gown was made out of a silk-satin crepe material, which is a fairly thin fabric with a gorgeous luster. I began by illustrating the entire figure lightly in pencil, paying special attention to the twists and angles of the pose. Using an ultra fine tipped gray ink pen, I began “pouring” the fabric over the figure using long lines. The fabric should cling to the figure, and buckle only as it meets something that stops its flow – see this happen at the waist, thigh, and sash. For a sleek dress like this, be careful not to add too many folds or the dress will begin to look to fussy and frumpy.

When I was satisfied with the fabric lines, I cleaned up the illustration with an eraser and outlined my final lines and the entire gown in an ultra fine tipped black ink pen. I always begin adding color to the skin first. I think it helps me check my proportion, and start to get a feel for “who” the subject is. Call me crazy, but when I am not doing portraits, I like to create a personality for my illustrations in my head – this affects everything from pose and expression, to hair and dress color!

2. Take a look at your figure and decide where your light source is. For this illustration, I decided it should be in front of the figure – the figure’s body is turned toward the light. Using the lightest color in your pallet, completely outline a section that will be in that shade, and as best you can, leave the parts that would be reflecting light white. This does not have to be exact, you will be layering color in these areas, but it will help you get a sense of the 3D quality you will be trying to achieve. I started with the jade green sash, because I knew the gown would be in a darker, black pearl color. I did not want to take the chance of my darker gown color blending into my brightly-colored sash:

3. Once you have a section outlined, start using your marker’s brush tip to begin layering your color by dragging the marker from shadow to light – usually beginning heavy and slow at the top of your lines, and pulling away to nothing until you almost reach the bottom of your lines:

4. Next, repeat the same effect from the bottom of your lines to the top. You should find that the section of fabric in the center is slightly lighter than where your lines begin and end:

5. While your ink is still damp, choose the next darkest shade and revisit your original lines, going over the places that would see the most shadow:

6. If necessary, while the ink is still damp you can blend in your darker shade by running over it with your lighter shade. Do this with as many shades as you like as many times as you need to to get the shading the way you like it. This is why I find it helpful to start with a very light shade – you can (and usually will) add more. What you should be left with would work beautifully for a nice, thin matte fabric, but this is silk-satin; we need some shine!

7. I repeated the steps above for the gown and let everything dry. I use fairly thick illustration board, and it really soaks up the ink. I prefer to let heavy applications like this dry overnight, but if you are short on time, an hour is probably fine. Add more shadow if necessary using pencil or ink. Then, using a bright white pencil, bring out the sections where light would be reflected most. I like to apply the pencil at a slight angle to the fabric fold lines, in a slight zigzag sketch:

8. Using Copic Opaque White or paint, drag a fine line down the center of the sections you highlighted with white pencil. You can leave it in a clean line, or soften it as I have by going over it again with your opaque white in a slight zigzag as before. You can soften it even more by softly running your white pencil back over the opaque white once it has dried. To keep the 3D cylindrical effect, be careful not to make the white part too thick. This will bring out the shiniest part of the fabric fold, creating a liquid-like feel to your satin:

Materials Used:

Feather
Copic Sketch markers - R20, E01, R02, R22
Copic Multiliner – Gray .05
atyou Spica Glitter Pen – Silver

Hair
Copic Sketch markers - R02, RV69, R39, E13
Prismacolor Pencils – PC929, PC938
Copic Multiliners – Black .05, Wine .05

Skin & Face
Copic Sketch markers - E21, E11, R20, R02, RV21, B41, BV13, T3, T5
Copic Multiliners – Gray .05, Black .05, Wine .05
atyou Spica Glitter Pen – Silver
Prismacolor Pencils – PC941, PC938, PC939, PC929

Dress & Sash
Copic Sketch markers - T5, T3, T1, YG67, G82
Copic Multiliners – Gray .05, Black .05, Olive .05
Prismacolor Pencils – PC938, PC1054
Copic Opaque White

Jewels & Shoes
Copic Sketch markers - RV69, G82, YG67, R39
Copic Multiliners – Gray .05, Black .05, Olive .05, Wine .05
Prismacolor Pencil – PC938
Copic Opaque White
atyou Spica Glitter Pens – Silver, Gold

Find Jennifer on the web:
Copic Color
Portfolio

Copic Design Team Member, Sharon Harnist, has a quick and easy Mother’s Day project to share today. This customized photo mat would make a great Mother’s Day gift for someone, or a wonderful way to embellish a favorite photo from your own Mother’s Day!

Materials List:
Copic Sketch Markers: RV34, RV19, YG03, YG63
?Stamps: Stampendous Jumbo Peony cling rubber stamp (#CRS5001-46498)
?Ink: Memento Tuxedo Black and Pear Tart ink pads
Accessories: 8” x 10” white photo mat with 3.50” x 5.50” opening and black border (#10445408); American Crafts Thickers Roller Pink Glitter Letter Stickers (#42867)

Project Instructions:
1. Stamp flower with Memento Tuxedo Black ink onto white photo mat.
2. Stamp swirl with Memento Pear Tart ink between stamped flowers on photo mat.
3. Color flower with Copic RV34 and RV19 Sketch markers.
4. Color flower leaves with Copic YG03 and YG63 Sketch markers.
5. Add pink glitter chipboard letters to mat. If you don’t have just the perfect color match of chipboard or glitter letter stickers, always keep white on hand to color with a coordinating Copic marker!

For more Copic papercrafting tips, tutorials and samples, visit Sharon’s blog, PaperFections, or follow her on Facebook or Twitter.

To celebrate the release of the latest The Great Gatsby remake (which hits theaters May 10th), we’ve teamed up with fashion illustrator Jennifer Hancock to bring you a series of four tutorials based on the Roaring Twenties fashion seen in the film.

This week, Jennifer walks us through the steps to create beautiful decorative feathers with Copics. The burgundy line represents her actions in any given step:

.

.

1.1: Draw an elongated “S” line. This will be the quill, or center of your feather. Tools used: Copic Multiliner, Gray .03


1.2: To form the shape of your feather, draw more of the same “S” line, sort of branching off of the original line. You do not want perfection – Space your lines unevenly and vary the line shape slightly. Tools used: Copic Multiliner, Gray .03

2.1: Space the ends of the lines wider than the roots on the side of the feather that is “closest” to you. If it suits your project, add some curly down-like feathers at at the bottom end of the quill. Tools used: Copic Multiliner, Gray .03

2.2: On the side of the feather that is father away, make the root wider than the ends. Tools used: Copic Multiliner, Gray .03

2.3: Connect your lines to create sections of the feather. Some sections can connect to each other, some can be separated. Tools used: Copic Multiliner, Gray .03

3.1: Begin filling the sections with a variety of more elongated “S” lines. Tools used: Copic Multiliner, Gray .03

4.1: Continue these steps for the rest of your feathers. Tools used: Copic Multiliner, Gray .03

5.1: Once your feathers are ready, create definition by outlining sections in a darker color, and outlining the innermost part of the “S” lines within the sections. Tools used: Copic Multiliner, Black .05

6.1: Begin creating depth by adding color. On the side of the feather closest to you, begin adding layers of color – Darkest from the center, lightest in the middle, and darkest again at the ends (on image, see overlay of 4 different shades to show the order of your blend). Tools used: Copic Sketch markers - T1 Toner Gray No.1, T2 Toner Gray No.2, T3 Toner Gray No.3, T5 Toner Gray No.5, E01 Pink Flamingo, R20 Blush

6.2: On the side of the feather the farthest from you, layer colors slightly differently, with the lightest section being much closer to the center. Tools used: Copic Sketch markers - T1 Toner Gray No.1, T2 Toner Gray No.2, T3 Toner Gray No.3, T5 Toner Gray No.5, E01 Pink Flamingo, R20 Blush

Materials Used:
Bristol Illustration Board, 11×17″

Hair
Copic Sketch markers – E50 Egg Shell, YR31 Light Reddish Yellow, E31 Brick Beige
Copic Multiliner – Gray .03
Prismacolor pencils – PC941 Light Umber, PC938 White

Skin
Copic Sketch markers - E51 Milky White, E00 Skin White
Copic Multiliner – Gray .03
Prismacolor pencils – PC941 Light Umber, PC929 Pink, PC938 White

Eyes
Copic Sketch markers - B39 Prussian Blue, BV13 Hydrangea Blue, B41 Powder Blue, B24 Sky, T1 Toner Gray No.1, T2 Toner Gray No.2, T3 Toner Gray No.3, T5 Toner Gray No.5, E01 Pink Flamingo
atyouSpica Glitter Pens – Silver, Black
Copic Multiliners – Gray .03, Black .05
Copic Opaque White

Lips
Copic Sketch marker - RV69 Peony
atyouSpica Glitter Pen – Garnet
Copic Multiliners – Gray .03, Black .05
Prismacolor pencils – PC929 Pink, PC938 White
Copic Opaque White

Head Band, Pearls & Earrings
Copic Sketch  markers – T1 Toner Gray No.1, T2 Toner Gray No.2, T3 Toner Gray No.3, E01 Pink Flamingo, R20 Blush, G82 Spring Dim Green, YG67 Moss, YG97 Spanish Olive
Copic Mutiliners – Gray .03, Black .05, Olive .05
Primacolor pencil – PC938 White
Copic Opaque White

Find Jennifer on the web:
Copic Color
Portfolio

We now offer back-to-back certifications for Standard and Intermediate classes! If you have not taken the Standard class, you will need to apply for both at the same time. Below is our current class schedule:

Standard Certification
Greenville, SC 4/26
Lyndhurst, NJ 5/3
Hanover, MD 5/24
Salt Lake City, UT 5/31
Columbus, OH 5/31

» Apply for Standard Certification Classes

Intermediate Certification
Greenville, SC 4/27
Lyndhurst, NJ 5/4
Hanover, MD 5/25 FULL
Salt Lake City, UT 6/1
Columbus, OH 6/1

» Apply for Intermediate Certification Classes

.
.

Join our regional instructors for TWO consecutive, fun-filled days of coloring, creating and getting inky! Expand your coloring skills, experiment with unique surfaces, learn new inking techniques and advance your airbrushing aptitude in this totally hands-on workshop. Prerequisite: Standard Certification

Boston, MA 5/3-4
Calgary, AB 5/24-25
Toronto, ON 6/7-8

» Apply for Copic Color & Ink Workshops

We hope to see you at one of our upcoming convention appearances! Come visit us in the Copic booth, and be sure to check out the talented artists in each show’s Artist Alley.

April 26-28: C2E2 Chicago – Booth #109

.

May 31- June 2: A-Kon Dallas – Booth #G1

.

June 7-9: HeroesCon Charlotte – Booth #TBD

.

July 4-7: Anime Expo Los Angeles – Booth #560

.

July 18-21: Comic-Con San Diego – Booth #4928

Copic Design Team Member Sharon Harnist is back with another fabulous flower coloring tutorial. Enjoy!

Spring is definitely in bloom, so I’m excited to bring you another flower coloring tutorial – This time using a little bit different technique: Flick Feathering or Feather Blending.

Here’s a Spring “Thinking of You” card I made with the technique:

The basic strokes look like this:

1. Start the stroke at the bottom (or edge of your stamped flower line) and flick the marker upward. You should have more pressure on the marker at the beginning of the stroke and then less pressure as you near the end of the stroke, so there is less (or narrower) color towards the top of your stroke. You can vary the “broadness” of your stroke (and color intensity) by how much pressure you place on the tip of the marker at the beginning of the stroke.

2. Using your second color, flick from the other direction, so the colors meet. You can keep repeating the two strokes, to achieve the blend you’d like.

3. The final step will have the two colors blending together in the middle, creating a new color!

For this tutorial, I used the Buds & Vases stamp set by Melanie Muenchinger for Gina K Designs.  Stamping the flowers in a soft gray ink (Memento London Fog), allows the coloring to be the main focus and a little more realistic. The Copic Sketch marker colors I used on this card were: R81, R83, R85, YR31 (flowers) and YG61, YG63 (leaves) and I stamped/colored on Copic X-Press It Blending Card.

Here are the steps for the flowers:

1. I used YR31 flicked from the center of the flower petals, outward (the middle flower shown below) and R81 flicked from the outer edges of the petals, inward (the right petal below). The result is the lower left petal:

2. Here’s what the flower looks like, completed with the first two steps of feather blending:

3. Next, I used my chosen middle tone (R83) to add some shading to the sides of each of the petals that appear to be underneath the other. This really helps to start defining each petal:

4. Then I went back with my lighter R81 and blended out the harsh line of the R83:

5. To finish the petals, I used my darkest R85 to color the center of the flower and the “veins” of the petals that the illustrator drew in:

6. For the leaves, I used the same feather strokes, starting with my lightest YG61 marker. I started my feather strokes from the edge of the flower petal, downward.  Notice I stopped just short of reaching the edge of the stamped leaf line, to leave a little highlight:

7. Next, I used my darker YG63 and the same flicking stroke from the flower petal downward, to create a shadow on the leaf:

8. Then I went back with my lighter YG61 and soften and blended the two colors together a little:

To finish my card, I stamped the vase with Adirondack Slate dye ink onto vellum and clear heat embossed, then cut out and attached the vase over the flower stems which were stamped with Bundled Sage Distress Ink (sentiment was stamped with same ink). The flowers were hand-trimmed and popped up on X-Press It Double-Sided Foam Tape over the top of the vase.

The light pink seam binding ribbon was hand dyed with Copic R83 and R85, to match the flowers, using the second method mentioned below. You can find two different methods and tutorials for hand-dying ribbon on my blog:

1. Using Copic Various Ink Refills
   
2. Copic Markers and Colorless Blending Solution

Thanks for joining me today!  ~ Sharon Harnist

For more Copic papercrafting tips, tutorials and samples, visit Sharon’s blog, PaperFections, or follow her on Facebook or Twitter.

Card Supplies:
Copic Sketch Markers: R81, R83, R85, YR31 (flowers) and YG61, YG63 (leaves)
Copic Various Ink Refills: R83, R85 (for ribbon dying)
Stamp Set: Gina K Designs Buds & Vases by Melanie Muenchinger
Paper: X-Press It Blending Card, Gina K Designs Innocent Pink & Passionate Pink Heavy Base Weight Cardstock, Vellum
Ink: Tsukineko Memento London Fog; Ranger Adirondack Slate dye ink & Tim Holtz Bundled Sage Distress Ink
Accessories: X-Press It Double-Sided Foam Tape, Spellbinders , Lawrence Schiff Silk Mills Hug Snug Seam Binding-Lyric Rose